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"title": "How Period Tracking Apps Fit Into a Post-Roe v. Wade Climate",
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"content": "\u003cp>In the wake of the leaked draft Supreme Court opinion that would overturn \u003cem>Roe v. Wade\u003c/em>, privacy experts are increasingly concerned about how data collected from period-tracking apps, among other applications, could potentially be used to penalize anyone seeking or considering an abortion.\u003c/p>\n\u003cp>Millions of people use apps to help track their menstrual cycles. Flo, which bills itself as the most popular period and cycle tracking app, has amassed 43 million active users. Another app, Clue, claims 12 million monthly active users.\u003c/p>\n\u003cp>The personal health data stored in these apps is among the most intimate types of information a person can share. And it can also be telling. The apps can show when their period stops and starts and when a pregnancy stops and starts.\u003c/p>\n\u003cp>That has privacy experts on edge, because if abortion is ever criminalized, this data—whether subpoenaed or sold to a third party—could be used to suggest that someone has had or is considering an abortion.\u003c/p>\n\u003cp>“We’re very concerned in a lot of advocacy spaces about what happens when private corporations or the government can gain access to deeply sensitive data about people’s lives and activities,” says Lydia X. Z. Brown, a policy counsel with the Privacy and Data Project at the Center for Democracy and Technology. “Especially when that data could put people in vulnerable and marginalized communities at risk for actual harm.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At least 26 states are \u003ca href=\"https://www.guttmacher.org/article/2021/10/26-states-are-certain-or-likely-ban-abortion-without-roe-heres-which-ones-and-why\" target=\"_blank\" rel=\"noopener noreferrer\">“certain or likely” to ban abortions\u003c/a> if the Supreme Court overturns \u003cem>Roe v. Wade\u003c/em>, according to the Guttmacher Institute, a research group that supports abortion rights.\u003c/p>\n\u003cp>But some states have signaled an interest to go further. Two days after the leaked Supreme Court opinion was first reported by \u003cem>\u003ca href=\"https://www.politico.com/news/2022/05/02/supreme-court-abortion-draft-opinion-00029473\" target=\"_blank\" rel=\"noopener noreferrer\">Politico\u003c/a>\u003c/em>, lawmakers in Louisiana \u003ca href=\"https://www.reuters.com/world/us/louisiana-legislators-advance-bill-classifying-abortion-homicide-2022-05-05/\" target=\"_blank\" rel=\"noopener noreferrer\">advanced a bill\u003c/a> that would classify abortion as a homicide.\u003c/p>\n\u003ch3>It’s more than just period apps\u003c/h3>\n\u003cp>Evan Greer, director of the digital rights advocacy group Fight for the Future, says period apps aren’t the only ways technology can be used to connect someone to an abortion. If someone is sitting in the waiting room of a clinic that offers abortion services and is playing a game on their phone, that app might be collecting location data, she says.\u003c/p>\n\u003cp>“Any app that is collecting sensitive information about your health or your body should be given an additional level of scrutiny,” Greer says.\u003c/p>\n\u003cp>Search histories could also be identifying, says Brown. Activist groups—regardless of what they’re advocating for—might try to purchase a dataset that would show where people have been searching for information related to abortion.\u003c/p>\n\u003cp>That information could be used for predatory advertising, according to Brown, but it could also offer a way for private citizens to report another person for seeking an abortion. This could be especially risky in Texas, they added, given the state’s controversial new abortion law \u003ca href=\"https://www.npr.org/2021/09/01/1033202132/texas-abortion-ban-what-happens-next\" target=\"_blank\" rel=\"noopener noreferrer\">known as SB 8\u003c/a>.\u003c/p>\n\u003cp>The law bans abortion as soon as cardiac activity is detectable—typically around six weeks. It also empowers private citizens to enforce the ban through payments of at least $10,000 for anyone who successfully sues an abortion provider.\u003c/p>\n\u003cp>“Anybody could get their hands on this data by simply purchasing it from a company that is already collecting it,” Brown says.\u003c/p>\n\u003ch3>Sharing data from apps isn’t unprecedented\u003c/h3>\n\u003cp>It’s not uncommon for apps to cooperate with law enforcement during criminal investigations—oftentimes around child exploitative imagery in particular. If abortion is criminalized, experts say period-tracking data could become a target for investigators.\u003c/p>\n\u003cp>[aside postID='arts_13912860,arts_13902723,news_11913160,arts_13911818,news_11913295']All of which makes an app’s privacy policies especially important, but when it comes to privacy, these policies can be vague and in flux, according to Andrea Ford, a research fellow at the University of Edinburgh.\u003c/p>\n\u003cp>“It becomes really muddy when you get into abortion,” Ford says. “If that [were to become] illegal in certain places, does that transcend the right to privacy that is written into the contracts in the way that child trafficking would?”\u003c/p>\n\u003cp>The Flo app has come under fire for sharing data before.\u003c/p>\n\u003cp>Last year, the Federal Trade Commission \u003ca href=\"https://www.ftc.gov/news-events/news/press-releases/2021/01/developer-popular-womens-fertility-tracking-app-settles-ftc-allegations-it-misled-consumers-about\" target=\"_blank\" rel=\"noopener noreferrer\">reached a settlement\u003c/a> with the popular fertility and period-tracking app amid allegations that it misled users about the disclosure of their personal health data. The settlement followed a 2019 \u003cem>Wall Street Journal\u003c/em> \u003ca href=\"https://www.wsj.com/articles/you-give-apps-sensitive-personal-information-then-they-tell-facebook-11550851636\" target=\"_blank\" rel=\"noopener noreferrer\">investigation\u003c/a> that found the app informed Facebook when a user was having their period or if they informed the app that they intended to get pregnant.\u003c/p>\n\u003cp>Under the settlement, the FTC said Flo must undergo an independent review of its privacy policy and obtain user permissions before sharing personal health information. Flo \u003ca href=\"https://flo.health/flo-health-inc/news/flo-response-ftc-settlement\" target=\"_blank\" rel=\"noopener noreferrer\">did not admit any wrongdoing\u003c/a> as part of the settlement.\u003c/p>\n\u003cp>In a statement to NPR, the company said it “firmly believes women’s health data should be held with the utmost privacy and care at all times, which is why we do not share health data with any third party.”\u003c/p>\n\u003cp>The company added that an external, independent privacy audit completed in March “confirmed there are no gaps or weaknesses in our privacy practices.”\u003c/p>\n\u003cp>In a statement to NPR, period-tracking app Clue said “any data you track in Clue about pregnancies, pregnancy loss or abortion, is kept private and safe.” As a European company, the company said it is obligated to apply “special protections” to reproductive health data, per European law.\u003c/p>\n\u003cp>Despite such pledges, Jason Hong, a professor at Carnegie Mellon University’s School of Computer Science, cautions that the data a user inputs into a period-tracking app could reach far beyond the phone or the app they’re using.\u003c/p>\n\u003cp>“It’s really hard to understand how your data is being used and where it’s being shared because it could be many many third parties, and those third parties can also resell to other third parties,” Hong says. “Your data could actually be all over the network at this point. And it’s really hard to track what’s going on.”\u003c/p>\n\u003ch3>OK, but should I delete the app?\u003c/h3>\n\u003cp>For those second-guessing their period-tracking app, Ford says there’s a risk vs. convenience calculation that’s different for each user. It depends in large part on where you live and what the laws are.\u003c/p>\n\u003cp>“If I lived in a state where abortion was actively being criminalized, I would not use a period tracker—that’s for sure,” she says.\u003c/p>\n\u003cp>But for those who choose to log their data online, there might be some options that aren’t as risky. Ford says that apps built with a nonprofit model could offer more privacy.\u003c/p>\n\u003cp>Hong says paid apps could be better because they’re less likely to track users, since they don’t need to collect advertising data. Hong also advised users to read Apple’s privacy nutrition labels, which are designed to show users how their data is used in simpler terms.\u003c/p>\n\u003cp>Apps that store data locally are also preferable, Greer explained, because when data is stored locally, the user owns it—not the company.\u003c/p>\n\u003cp>If police are interested in data stored on a user’s device, they would need a warrant, which has a “much higher legal bar” than a subpoena, Greer says. But if the data is in the cloud and owned by a company, a subpoena would be necessary to access the data.\u003c/p>\n\u003cp>Ford says the most secure option might just be the most old-fashioned: tracking your cycle on paper.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“If you want to be safe, use a paper calendar.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+period+tracking+apps+and+data+privacy+fit+into+a+post-Roe+v.+Wade+climate+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At least 26 states are \u003ca href=\"https://www.guttmacher.org/article/2021/10/26-states-are-certain-or-likely-ban-abortion-without-roe-heres-which-ones-and-why\" target=\"_blank\" rel=\"noopener noreferrer\">“certain or likely” to ban abortions\u003c/a> if the Supreme Court overturns \u003cem>Roe v. Wade\u003c/em>, according to the Guttmacher Institute, a research group that supports abortion rights.\u003c/p>\n\u003cp>But some states have signaled an interest to go further. Two days after the leaked Supreme Court opinion was first reported by \u003cem>\u003ca href=\"https://www.politico.com/news/2022/05/02/supreme-court-abortion-draft-opinion-00029473\" target=\"_blank\" rel=\"noopener noreferrer\">Politico\u003c/a>\u003c/em>, lawmakers in Louisiana \u003ca href=\"https://www.reuters.com/world/us/louisiana-legislators-advance-bill-classifying-abortion-homicide-2022-05-05/\" target=\"_blank\" rel=\"noopener noreferrer\">advanced a bill\u003c/a> that would classify abortion as a homicide.\u003c/p>\n\u003ch3>It’s more than just period apps\u003c/h3>\n\u003cp>Evan Greer, director of the digital rights advocacy group Fight for the Future, says period apps aren’t the only ways technology can be used to connect someone to an abortion. If someone is sitting in the waiting room of a clinic that offers abortion services and is playing a game on their phone, that app might be collecting location data, she says.\u003c/p>\n\u003cp>“Any app that is collecting sensitive information about your health or your body should be given an additional level of scrutiny,” Greer says.\u003c/p>\n\u003cp>Search histories could also be identifying, says Brown. Activist groups—regardless of what they’re advocating for—might try to purchase a dataset that would show where people have been searching for information related to abortion.\u003c/p>\n\u003cp>That information could be used for predatory advertising, according to Brown, but it could also offer a way for private citizens to report another person for seeking an abortion. This could be especially risky in Texas, they added, given the state’s controversial new abortion law \u003ca href=\"https://www.npr.org/2021/09/01/1033202132/texas-abortion-ban-what-happens-next\" target=\"_blank\" rel=\"noopener noreferrer\">known as SB 8\u003c/a>.\u003c/p>\n\u003cp>The law bans abortion as soon as cardiac activity is detectable—typically around six weeks. It also empowers private citizens to enforce the ban through payments of at least $10,000 for anyone who successfully sues an abortion provider.\u003c/p>\n\u003cp>“Anybody could get their hands on this data by simply purchasing it from a company that is already collecting it,” Brown says.\u003c/p>\n\u003ch3>Sharing data from apps isn’t unprecedented\u003c/h3>\n\u003cp>It’s not uncommon for apps to cooperate with law enforcement during criminal investigations—oftentimes around child exploitative imagery in particular. If abortion is criminalized, experts say period-tracking data could become a target for investigators.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>All of which makes an app’s privacy policies especially important, but when it comes to privacy, these policies can be vague and in flux, according to Andrea Ford, a research fellow at the University of Edinburgh.\u003c/p>\n\u003cp>“It becomes really muddy when you get into abortion,” Ford says. “If that [were to become] illegal in certain places, does that transcend the right to privacy that is written into the contracts in the way that child trafficking would?”\u003c/p>\n\u003cp>The Flo app has come under fire for sharing data before.\u003c/p>\n\u003cp>Last year, the Federal Trade Commission \u003ca href=\"https://www.ftc.gov/news-events/news/press-releases/2021/01/developer-popular-womens-fertility-tracking-app-settles-ftc-allegations-it-misled-consumers-about\" target=\"_blank\" rel=\"noopener noreferrer\">reached a settlement\u003c/a> with the popular fertility and period-tracking app amid allegations that it misled users about the disclosure of their personal health data. The settlement followed a 2019 \u003cem>Wall Street Journal\u003c/em> \u003ca href=\"https://www.wsj.com/articles/you-give-apps-sensitive-personal-information-then-they-tell-facebook-11550851636\" target=\"_blank\" rel=\"noopener noreferrer\">investigation\u003c/a> that found the app informed Facebook when a user was having their period or if they informed the app that they intended to get pregnant.\u003c/p>\n\u003cp>Under the settlement, the FTC said Flo must undergo an independent review of its privacy policy and obtain user permissions before sharing personal health information. Flo \u003ca href=\"https://flo.health/flo-health-inc/news/flo-response-ftc-settlement\" target=\"_blank\" rel=\"noopener noreferrer\">did not admit any wrongdoing\u003c/a> as part of the settlement.\u003c/p>\n\u003cp>In a statement to NPR, the company said it “firmly believes women’s health data should be held with the utmost privacy and care at all times, which is why we do not share health data with any third party.”\u003c/p>\n\u003cp>The company added that an external, independent privacy audit completed in March “confirmed there are no gaps or weaknesses in our privacy practices.”\u003c/p>\n\u003cp>In a statement to NPR, period-tracking app Clue said “any data you track in Clue about pregnancies, pregnancy loss or abortion, is kept private and safe.” As a European company, the company said it is obligated to apply “special protections” to reproductive health data, per European law.\u003c/p>\n\u003cp>Despite such pledges, Jason Hong, a professor at Carnegie Mellon University’s School of Computer Science, cautions that the data a user inputs into a period-tracking app could reach far beyond the phone or the app they’re using.\u003c/p>\n\u003cp>“It’s really hard to understand how your data is being used and where it’s being shared because it could be many many third parties, and those third parties can also resell to other third parties,” Hong says. “Your data could actually be all over the network at this point. And it’s really hard to track what’s going on.”\u003c/p>\n\u003ch3>OK, but should I delete the app?\u003c/h3>\n\u003cp>For those second-guessing their period-tracking app, Ford says there’s a risk vs. convenience calculation that’s different for each user. It depends in large part on where you live and what the laws are.\u003c/p>\n\u003cp>“If I lived in a state where abortion was actively being criminalized, I would not use a period tracker—that’s for sure,” she says.\u003c/p>\n\u003cp>But for those who choose to log their data online, there might be some options that aren’t as risky. Ford says that apps built with a nonprofit model could offer more privacy.\u003c/p>\n\u003cp>Hong says paid apps could be better because they’re less likely to track users, since they don’t need to collect advertising data. Hong also advised users to read Apple’s privacy nutrition labels, which are designed to show users how their data is used in simpler terms.\u003c/p>\n\u003cp>Apps that store data locally are also preferable, Greer explained, because when data is stored locally, the user owns it—not the company.\u003c/p>\n\u003cp>If police are interested in data stored on a user’s device, they would need a warrant, which has a “much higher legal bar” than a subpoena, Greer says. But if the data is in the cloud and owned by a company, a subpoena would be necessary to access the data.\u003c/p>\n\u003cp>Ford says the most secure option might just be the most old-fashioned: tracking your cycle on paper.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“If you want to be safe, use a paper calendar.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+period+tracking+apps+and+data+privacy+fit+into+a+post-Roe+v.+Wade+climate+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003cstrong>Update, June 24: \u003c/strong>The decision in Dobbs v. Jackson Women’s Health Organization was announced on June 24, overturning Roe v. Wade and eliminating the constitutional right to an abortion.\u003c/em>\u003c/p>\n\u003cp>\u003cem>California guarantees the right to abortion in statute and the state constitution. Our state’s abortion laws are the strongest in the United States. Both officials and abortion providers have made it very clear that \u003ca href=\"https://www.kqed.org/news/11917111/even-without-roe-v-wade-abortion-is-still-legal-in-california-heres-what-you-need-to-know\">abortion access in California will not change\u003c/a> because of the U.S. Supreme Court’s decision. \u003ca class=\"c-link\" href=\"https://www.kqed.org/news/11917776/supreme-court-overturns-roe-v-wade\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"https://www.kqed.org/news/11917776/supreme-court-overturns-roe-v-wade\" data-sk=\"tooltip_parent\" data-remove-tab-index=\"true\">Read more about the overturning of Roe v. Wade\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Original story continues:\u003c/em>\u003c/p>\n\u003cp>On May 2, a leaked draft of a Supreme Court decision confirmed that the court plans to overturn Roe v. Wade, the landmark 1973 decision that guaranteed abortion access in the United States. Given that \u003ca href=\"https://www.brookings.edu/research/preventing-unplanned-pregnancy-lessons-from-the-states/\" target=\"_blank\" rel=\"noopener noreferrer\">45% of American pregnancies are unplanned\u003c/a>, and that about \u003ca href=\"https://www.npr.org/2022/05/08/1097458563/almost-half-of-the-states-plan-to-ban-or-limit-abortion-if-roe-v-wade-is-overtur\" target=\"_blank\" rel=\"noopener noreferrer\">half of U.S. states would immediately ban abortion\u003c/a> should Roe v. Wade be overturned, the impact on reproductive healthcare would be staggering.\u003c/p>\n\u003cp>Support for Roe v. Wade varies by state, but polling shows that \u003ca href=\"https://www.ppic.org/blog/a-broad-range-of-californians-oppose-overturning-roe-v-wade/\" target=\"_blank\" rel=\"noopener noreferrer\">81% of the Bay Area\u003c/a>, \u003ca href=\"https://www.ppic.org/blog/where-do-californians-stand-on-abortion/\" target=\"_blank\" rel=\"noopener noreferrer\">77% of California\u003c/a>, and \u003ca href=\"https://www.delawarepublic.org/npr-headlines/npr-headlines/2022-05-06/7-persistent-claims-about-abortion-fact-checked\" target=\"_blank\" rel=\"noopener noreferrer\">61% of American adults\u003c/a> believe abortion should be legal in most or all cases. If you’re among them, you’re probably wondering what you can possibly do, both at home and further afield.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At this point, there may be no way for any one person to stop the Supreme Court decision. But that doesn’t mean you have to feel helpless. Here are some concrete ways to take action.\u003c/p>\n\u003ch2>Donate to Abortion Rights Organizations\u003c/h2>\n\u003cp>Whether you want to donate your money or time, there are many worthy reproductive health organizations in need of assistance right now.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.reproductivefreedomca.org/\" target=\"_blank\" rel=\"noopener noreferrer\">California Coalition for Reproductive Freedom\u003c/a> is a network of \u003ca href=\"https://www.reproductivefreedomca.org/member-list.html\" target=\"_blank\" rel=\"noopener noreferrer\">more than 40 organizations\u003c/a> around the state who are focused on safeguarding reproductive health rights. The coalition is made up of nonprofits that act at the policy level (like the \u003ca href=\"https://www.aclunc.org/home\" target=\"_blank\" rel=\"noopener noreferrer\">ACLU\u003c/a>, the \u003ca href=\"https://www.cwlc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">California Women’s Law Center\u003c/a>, \u003ca href=\"https://prochoicecalifornia.org/\" target=\"_blank\" rel=\"noopener noreferrer\">NARAL\u003c/a>) as well as on the ground.\u003c/p>\n\u003cp>One member organization doing hands-on work is \u003ca href=\"https://accessrj.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Access Reproductive Justice\u003c/a>. ARJ offers assistance with finances, transportation, lodging, childcare and emotional issues for all individuals seeking abortions. Its \u003ca href=\"https://accessrj.org/case-study/access-reproductive-justice-healthline/\" target=\"_blank\" rel=\"noopener noreferrer\">healthline\u003c/a> also offers advice on the phone around every element of reproductive health, as well as insurance-related questions. Even in abortion-friendly California, a 2017 study found that \u003ca href=\"https://www.kqed.org/news/11896908/for-many-rural-and-lower-income-californians-abortion-services-remain-hard-to-access\" target=\"_blank\" rel=\"noopener noreferrer\">40% of counties, mostly rural, have zero clinics\u003c/a> that provide abortions. ARJ estimates a need of $1 million a year to assist every person that reaches out to them help. \u003ca href=\"https://give.accessrj.org/give/312683/#!/donation/checkout\" target=\"_blank\" rel=\"noopener noreferrer\">You can donate here\u003c/a>.\u003c/p>\n\u003cp>If Roe v. Wade is overturned, one of the best ways to ensure your contribution will help those most affected is by \u003ca href=\"https://donate.abortionfunds.org/give/323375/#!/donation/checkout\" target=\"_blank\" rel=\"noopener noreferrer\">donating\u003c/a> to the \u003ca href=\"https://abortionfunds.org/\" target=\"_blank\" rel=\"noopener noreferrer\">National Network of Abortion Funds\u003c/a>. The organization is connected to reproductive health organizations across the entire United States, as well as some parts of Mexico. (It also happens to have a store, if you or a loved one urgently needs some \u003ca href=\"https://shop.abortionfunds.org/\" target=\"_blank\" rel=\"noopener noreferrer\">“FUND ABORTION” rhinestone hairpins\u003c/a>.) Should you want to be more specific about where your money goes, the NNAF website also features a \u003ca href=\"https://abortionfunds.org/need-abortion/\" target=\"_blank\" rel=\"noopener noreferrer\">comprehensive list of abortion funds, organized by state\u003c/a>.\u003c/p>\n\u003ch2>Understand Who Will Be Most Affected\u003c/h2>\n\u003cp>[aside postID='news_11913033,arts_13902723,news_11913160,arts_13911818,news_11913295']If Roe v. Wade is overturned, those who live in states where abortions are likely to become illegal (according to the \u003cem>\u003ca href=\"https://www.nytimes.com/interactive/2022/05/07/us/abortion-access-roe-v-wade.html\" target=\"_blank\" rel=\"noopener noreferrer\">New York Times\u003c/a>\u003c/em>, that’s 33.6 million reproductive-age women) will need to travel across state lines in order to reach abortion services. This added expense will disproportionately affect the poor, the working class, and people of color. According to \u003ca href=\"https://www.federalreserve.gov/econres/notes/feds-notes/wealth-inequality-and-the-racial-wealth-gap-20211022.htm\" target=\"_blank\" rel=\"noopener noreferrer\">2021 figures compiled by the Federal Reserve\u003c/a>, the average BIPOC household earns about half as much as the average white household, making out-of-state travel far more challenging.\u003c/p>\n\u003cp>\u003ca href=\"https://blackrj.org/\" target=\"_blank\" rel=\"noopener noreferrer\">In Our Own Voice\u003c/a> is a network of eight organizations in California, Georgia, Louisiana, Ohio, Pennsylvania, Tennessee and Texas that center Black women’s safety and access to reproductive healthcare. It is currently asking for \u003ca href=\"https://blackrj.networkforgood.com/\" target=\"_blank\" rel=\"noopener noreferrer\">donations\u003c/a> and volunteers around the country \u003ca href=\"https://blackrj.org/getinvolved/rj-and-policy-change/\" target=\"_blank\" rel=\"noopener noreferrer\">to work strategically\u003c/a> with its partners.\u003c/p>\n\u003cp>\u003ca href=\"https://www.iwrising.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Indigenous Women Rising\u003c/a> has a \u003ca href=\"https://www.iwrising.org/abortion-fund\" target=\"_blank\" rel=\"noopener noreferrer\">dedicated abortion fund\u003c/a> to assist every Indigenous person in America and Canada that wants one.\u003c/p>\n\u003cp>Also facing more accessibility challenges than most are pregnant teens. \u003ca href=\"https://prochoice.org/advocates/support-our-work/\" target=\"_blank\" rel=\"noopener noreferrer\">The National Abortion Federation\u003c/a> operates a hotline specifically to assist them. By texting TEEN to 839863 or calling 1-800-852-8336, teenagers can seek out reproductive health care and advice.\u003c/p>\n\u003ch2>Take Action\u003c/h2>\n\u003cp>Call lawmakers and vote whenever you have the opportunity to do so. In 2020, the California Coalition for Reproductive Freedom collected eight different \u003ca href=\"https://www.reproductivefreedomca.org/2020-voter-guides.html\" target=\"_blank\" rel=\"noopener noreferrer\">voter guides for that year’s elections\u003c/a>, focusing on the candidates who were most likely to safeguard reproductive healthcare. You can keep your eye on the resources section of their website for guidance on upcoming elections.\u003c/p>\n\u003cp>If you’re looking for a protest to join, \u003ca href=\"https://map.wewontgoback.com/\" target=\"_blank\" rel=\"noopener noreferrer\">We Won’t Go Back\u003c/a> offers a guide to upcoming marches, rallies and online meetings in your zip code. To get news about upcoming protests direct to your inbox, you can also \u003ca href=\"https://thekeypr.us4.list-manage.com/subscribe?u=14fffeab5ef0bd194b70375c5&id=9292a65d16&akid=.1793287.NI3r4m\" target=\"_blank\" rel=\"noopener noreferrer\">join the Women’s March mailing list\u003c/a>. (If you are unsure of your rights as a protester, you can consult this \u003ca href=\"https://www.aclu.org/know-your-rights/protesters-rights/\" target=\"_blank\" rel=\"noopener noreferrer\">guide from the ACLU\u003c/a>.)\u003c/p>\n\u003ch2>Know That Abortion Isn’t ‘Just’ a Women’s Issue\u003c/h2>\n\u003cp>Though cisgender women will be most affected if Roe v. Wade is overturned, abortion bans have far-reaching consequences for everyone, including the loved ones of those seeking abortions. Transgender men and nonbinary folks get abortions too—around 500 of them in 2017 alone.\u003c/p>\n\u003cp>Pregnancy is significantly more dangerous than legal abortion. Between 2013 and 2018, \u003ca href=\"https://www.delawarepublic.org/npr-headlines/npr-headlines/2022-05-06/7-persistent-claims-about-abortion-fact-checked\" target=\"_blank\" rel=\"noopener noreferrer\">0.4 people per 100,000\u003c/a> died because of an abortion procedure. That’s compared to \u003ca href=\"https://www.cdc.gov/nchs/data/hestat/maternal-mortality/2020/maternal-mortality-rates-2020.htm\" target=\"_blank\" rel=\"noopener noreferrer\">18.2 Latinx people, 19.1 white people and 55.3 Black people per 100,000\u003c/a> who died while attempting to complete a pregnancy.\u003c/p>\n\u003cp>Death rates caused by illegal pre-Roe v. Wade abortion procedures are unclear. But in 2019, \u003ca href=\"https://www.washingtonpost.com/politics/2019/05/29/planned-parenthoods-false-stat-thousands-women-died-every-year-before-roe/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Washington Post\u003c/em> fact-checkers reported that in the 1960s\u003c/a>, the annual number of women who died from an illegal abortion was officially under 300. The paper ultimately estimated that the actual number was realistically higher than 300 but lower than 1,000.\u003c/p>\n\u003ch2>Talk About It\u003c/h2>\n\u003cp>Openly talking about how abortion has affected your own life can help to de-stigmatize and humanize the issue for others. In 2017, a study showed that \u003ca href=\"https://www.guttmacher.org/news-release/2017/abortion-common-experience-us-women-despite-dramatic-declines-rates\" target=\"_blank\" rel=\"noopener noreferrer\">nearly one in four American women have an abortion by age 45\u003c/a>. If you are in a position to share your story, please consider doing so.\u003c/p>\n\u003cp>\u003ca href=\"https://www.advocatesforyouth.org/abortion-out-loud/abortion-out-loud-abortion-storytelling/\" target=\"_blank\" rel=\"noopener noreferrer\">Abortion Out Loud\u003c/a> has published 1,500 abortion stories and is always seeking more. \u003ca href=\"https://advocates.typeform.com/to/DgGgPF?typeform-source=www.advocatesforyouth.org\" target=\"_blank\" rel=\"noopener noreferrer\">You can share your story here\u003c/a>. And Planned Parenthood’s “\u003ca href=\"https://www.plannedparenthood.org/about-us/newsroom/campaigns/abortion-stories\" target=\"_blank\" rel=\"noopener noreferrer\">Our Abortions, Our Stories\u003c/a>” project is a powerful collection of quotes compiled with the belief that sharing accounts of abortion makes a difference in the lives of others. \u003ca href=\"https://www.weareplannedparenthood.org/onlineactions/WN3Ue7UcpUWFS4zAcjk3rg2?\" target=\"_blank\" rel=\"noopener noreferrer\">You can share your experience here\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Finally, if you’re feeling emotionally raw because of the news, talk to your friends, family and, if you have one, therapist. In the coming weeks, it’s important to find your network, seek out like-minded people to partner with, and get ready for the work ahead.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Update, June 24: \u003c/strong>The decision in Dobbs v. Jackson Women’s Health Organization was announced on June 24, overturning Roe v. Wade and eliminating the constitutional right to an abortion.\u003c/em>\u003c/p>\n\u003cp>\u003cem>California guarantees the right to abortion in statute and the state constitution. Our state’s abortion laws are the strongest in the United States. Both officials and abortion providers have made it very clear that \u003ca href=\"https://www.kqed.org/news/11917111/even-without-roe-v-wade-abortion-is-still-legal-in-california-heres-what-you-need-to-know\">abortion access in California will not change\u003c/a> because of the U.S. Supreme Court’s decision. \u003ca class=\"c-link\" href=\"https://www.kqed.org/news/11917776/supreme-court-overturns-roe-v-wade\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"https://www.kqed.org/news/11917776/supreme-court-overturns-roe-v-wade\" data-sk=\"tooltip_parent\" data-remove-tab-index=\"true\">Read more about the overturning of Roe v. Wade\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Original story continues:\u003c/em>\u003c/p>\n\u003cp>On May 2, a leaked draft of a Supreme Court decision confirmed that the court plans to overturn Roe v. Wade, the landmark 1973 decision that guaranteed abortion access in the United States. Given that \u003ca href=\"https://www.brookings.edu/research/preventing-unplanned-pregnancy-lessons-from-the-states/\" target=\"_blank\" rel=\"noopener noreferrer\">45% of American pregnancies are unplanned\u003c/a>, and that about \u003ca href=\"https://www.npr.org/2022/05/08/1097458563/almost-half-of-the-states-plan-to-ban-or-limit-abortion-if-roe-v-wade-is-overtur\" target=\"_blank\" rel=\"noopener noreferrer\">half of U.S. states would immediately ban abortion\u003c/a> should Roe v. Wade be overturned, the impact on reproductive healthcare would be staggering.\u003c/p>\n\u003cp>Support for Roe v. Wade varies by state, but polling shows that \u003ca href=\"https://www.ppic.org/blog/a-broad-range-of-californians-oppose-overturning-roe-v-wade/\" target=\"_blank\" rel=\"noopener noreferrer\">81% of the Bay Area\u003c/a>, \u003ca href=\"https://www.ppic.org/blog/where-do-californians-stand-on-abortion/\" target=\"_blank\" rel=\"noopener noreferrer\">77% of California\u003c/a>, and \u003ca href=\"https://www.delawarepublic.org/npr-headlines/npr-headlines/2022-05-06/7-persistent-claims-about-abortion-fact-checked\" target=\"_blank\" rel=\"noopener noreferrer\">61% of American adults\u003c/a> believe abortion should be legal in most or all cases. If you’re among them, you’re probably wondering what you can possibly do, both at home and further afield.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At this point, there may be no way for any one person to stop the Supreme Court decision. But that doesn’t mean you have to feel helpless. Here are some concrete ways to take action.\u003c/p>\n\u003ch2>Donate to Abortion Rights Organizations\u003c/h2>\n\u003cp>Whether you want to donate your money or time, there are many worthy reproductive health organizations in need of assistance right now.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.reproductivefreedomca.org/\" target=\"_blank\" rel=\"noopener noreferrer\">California Coalition for Reproductive Freedom\u003c/a> is a network of \u003ca href=\"https://www.reproductivefreedomca.org/member-list.html\" target=\"_blank\" rel=\"noopener noreferrer\">more than 40 organizations\u003c/a> around the state who are focused on safeguarding reproductive health rights. The coalition is made up of nonprofits that act at the policy level (like the \u003ca href=\"https://www.aclunc.org/home\" target=\"_blank\" rel=\"noopener noreferrer\">ACLU\u003c/a>, the \u003ca href=\"https://www.cwlc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">California Women’s Law Center\u003c/a>, \u003ca href=\"https://prochoicecalifornia.org/\" target=\"_blank\" rel=\"noopener noreferrer\">NARAL\u003c/a>) as well as on the ground.\u003c/p>\n\u003cp>One member organization doing hands-on work is \u003ca href=\"https://accessrj.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Access Reproductive Justice\u003c/a>. ARJ offers assistance with finances, transportation, lodging, childcare and emotional issues for all individuals seeking abortions. Its \u003ca href=\"https://accessrj.org/case-study/access-reproductive-justice-healthline/\" target=\"_blank\" rel=\"noopener noreferrer\">healthline\u003c/a> also offers advice on the phone around every element of reproductive health, as well as insurance-related questions. Even in abortion-friendly California, a 2017 study found that \u003ca href=\"https://www.kqed.org/news/11896908/for-many-rural-and-lower-income-californians-abortion-services-remain-hard-to-access\" target=\"_blank\" rel=\"noopener noreferrer\">40% of counties, mostly rural, have zero clinics\u003c/a> that provide abortions. ARJ estimates a need of $1 million a year to assist every person that reaches out to them help. \u003ca href=\"https://give.accessrj.org/give/312683/#!/donation/checkout\" target=\"_blank\" rel=\"noopener noreferrer\">You can donate here\u003c/a>.\u003c/p>\n\u003cp>If Roe v. Wade is overturned, one of the best ways to ensure your contribution will help those most affected is by \u003ca href=\"https://donate.abortionfunds.org/give/323375/#!/donation/checkout\" target=\"_blank\" rel=\"noopener noreferrer\">donating\u003c/a> to the \u003ca href=\"https://abortionfunds.org/\" target=\"_blank\" rel=\"noopener noreferrer\">National Network of Abortion Funds\u003c/a>. The organization is connected to reproductive health organizations across the entire United States, as well as some parts of Mexico. (It also happens to have a store, if you or a loved one urgently needs some \u003ca href=\"https://shop.abortionfunds.org/\" target=\"_blank\" rel=\"noopener noreferrer\">“FUND ABORTION” rhinestone hairpins\u003c/a>.) Should you want to be more specific about where your money goes, the NNAF website also features a \u003ca href=\"https://abortionfunds.org/need-abortion/\" target=\"_blank\" rel=\"noopener noreferrer\">comprehensive list of abortion funds, organized by state\u003c/a>.\u003c/p>\n\u003ch2>Understand Who Will Be Most Affected\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>If Roe v. Wade is overturned, those who live in states where abortions are likely to become illegal (according to the \u003cem>\u003ca href=\"https://www.nytimes.com/interactive/2022/05/07/us/abortion-access-roe-v-wade.html\" target=\"_blank\" rel=\"noopener noreferrer\">New York Times\u003c/a>\u003c/em>, that’s 33.6 million reproductive-age women) will need to travel across state lines in order to reach abortion services. This added expense will disproportionately affect the poor, the working class, and people of color. According to \u003ca href=\"https://www.federalreserve.gov/econres/notes/feds-notes/wealth-inequality-and-the-racial-wealth-gap-20211022.htm\" target=\"_blank\" rel=\"noopener noreferrer\">2021 figures compiled by the Federal Reserve\u003c/a>, the average BIPOC household earns about half as much as the average white household, making out-of-state travel far more challenging.\u003c/p>\n\u003cp>\u003ca href=\"https://blackrj.org/\" target=\"_blank\" rel=\"noopener noreferrer\">In Our Own Voice\u003c/a> is a network of eight organizations in California, Georgia, Louisiana, Ohio, Pennsylvania, Tennessee and Texas that center Black women’s safety and access to reproductive healthcare. It is currently asking for \u003ca href=\"https://blackrj.networkforgood.com/\" target=\"_blank\" rel=\"noopener noreferrer\">donations\u003c/a> and volunteers around the country \u003ca href=\"https://blackrj.org/getinvolved/rj-and-policy-change/\" target=\"_blank\" rel=\"noopener noreferrer\">to work strategically\u003c/a> with its partners.\u003c/p>\n\u003cp>\u003ca href=\"https://www.iwrising.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Indigenous Women Rising\u003c/a> has a \u003ca href=\"https://www.iwrising.org/abortion-fund\" target=\"_blank\" rel=\"noopener noreferrer\">dedicated abortion fund\u003c/a> to assist every Indigenous person in America and Canada that wants one.\u003c/p>\n\u003cp>Also facing more accessibility challenges than most are pregnant teens. \u003ca href=\"https://prochoice.org/advocates/support-our-work/\" target=\"_blank\" rel=\"noopener noreferrer\">The National Abortion Federation\u003c/a> operates a hotline specifically to assist them. By texting TEEN to 839863 or calling 1-800-852-8336, teenagers can seek out reproductive health care and advice.\u003c/p>\n\u003ch2>Take Action\u003c/h2>\n\u003cp>Call lawmakers and vote whenever you have the opportunity to do so. In 2020, the California Coalition for Reproductive Freedom collected eight different \u003ca href=\"https://www.reproductivefreedomca.org/2020-voter-guides.html\" target=\"_blank\" rel=\"noopener noreferrer\">voter guides for that year’s elections\u003c/a>, focusing on the candidates who were most likely to safeguard reproductive healthcare. You can keep your eye on the resources section of their website for guidance on upcoming elections.\u003c/p>\n\u003cp>If you’re looking for a protest to join, \u003ca href=\"https://map.wewontgoback.com/\" target=\"_blank\" rel=\"noopener noreferrer\">We Won’t Go Back\u003c/a> offers a guide to upcoming marches, rallies and online meetings in your zip code. To get news about upcoming protests direct to your inbox, you can also \u003ca href=\"https://thekeypr.us4.list-manage.com/subscribe?u=14fffeab5ef0bd194b70375c5&id=9292a65d16&akid=.1793287.NI3r4m\" target=\"_blank\" rel=\"noopener noreferrer\">join the Women’s March mailing list\u003c/a>. (If you are unsure of your rights as a protester, you can consult this \u003ca href=\"https://www.aclu.org/know-your-rights/protesters-rights/\" target=\"_blank\" rel=\"noopener noreferrer\">guide from the ACLU\u003c/a>.)\u003c/p>\n\u003ch2>Know That Abortion Isn’t ‘Just’ a Women’s Issue\u003c/h2>\n\u003cp>Though cisgender women will be most affected if Roe v. Wade is overturned, abortion bans have far-reaching consequences for everyone, including the loved ones of those seeking abortions. Transgender men and nonbinary folks get abortions too—around 500 of them in 2017 alone.\u003c/p>\n\u003cp>Pregnancy is significantly more dangerous than legal abortion. Between 2013 and 2018, \u003ca href=\"https://www.delawarepublic.org/npr-headlines/npr-headlines/2022-05-06/7-persistent-claims-about-abortion-fact-checked\" target=\"_blank\" rel=\"noopener noreferrer\">0.4 people per 100,000\u003c/a> died because of an abortion procedure. That’s compared to \u003ca href=\"https://www.cdc.gov/nchs/data/hestat/maternal-mortality/2020/maternal-mortality-rates-2020.htm\" target=\"_blank\" rel=\"noopener noreferrer\">18.2 Latinx people, 19.1 white people and 55.3 Black people per 100,000\u003c/a> who died while attempting to complete a pregnancy.\u003c/p>\n\u003cp>Death rates caused by illegal pre-Roe v. Wade abortion procedures are unclear. But in 2019, \u003ca href=\"https://www.washingtonpost.com/politics/2019/05/29/planned-parenthoods-false-stat-thousands-women-died-every-year-before-roe/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Washington Post\u003c/em> fact-checkers reported that in the 1960s\u003c/a>, the annual number of women who died from an illegal abortion was officially under 300. The paper ultimately estimated that the actual number was realistically higher than 300 but lower than 1,000.\u003c/p>\n\u003ch2>Talk About It\u003c/h2>\n\u003cp>Openly talking about how abortion has affected your own life can help to de-stigmatize and humanize the issue for others. In 2017, a study showed that \u003ca href=\"https://www.guttmacher.org/news-release/2017/abortion-common-experience-us-women-despite-dramatic-declines-rates\" target=\"_blank\" rel=\"noopener noreferrer\">nearly one in four American women have an abortion by age 45\u003c/a>. If you are in a position to share your story, please consider doing so.\u003c/p>\n\u003cp>\u003ca href=\"https://www.advocatesforyouth.org/abortion-out-loud/abortion-out-loud-abortion-storytelling/\" target=\"_blank\" rel=\"noopener noreferrer\">Abortion Out Loud\u003c/a> has published 1,500 abortion stories and is always seeking more. \u003ca href=\"https://advocates.typeform.com/to/DgGgPF?typeform-source=www.advocatesforyouth.org\" target=\"_blank\" rel=\"noopener noreferrer\">You can share your story here\u003c/a>. And Planned Parenthood’s “\u003ca href=\"https://www.plannedparenthood.org/about-us/newsroom/campaigns/abortion-stories\" target=\"_blank\" rel=\"noopener noreferrer\">Our Abortions, Our Stories\u003c/a>” project is a powerful collection of quotes compiled with the belief that sharing accounts of abortion makes a difference in the lives of others. \u003ca href=\"https://www.weareplannedparenthood.org/onlineactions/WN3Ue7UcpUWFS4zAcjk3rg2?\" target=\"_blank\" rel=\"noopener noreferrer\">You can share your experience here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Finally, if you’re feeling emotionally raw because of the news, talk to your friends, family and, if you have one, therapist. In the coming weeks, it’s important to find your network, seek out like-minded people to partner with, and get ready for the work ahead.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bay Apes NFTs Promise Exclusive Club Membership. Will They Deliver?",
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"content": "\u003cp>Darrel Lideros started investing in non-fungible tokens (NFTs) in January. He has a checklist that he swears by before he makes any investment decision: Number one, “It has to be hype,” he says. Number two, “community”—the investors have to be helpful to each other. Number three, “utility”—what does he get out of putting his money into it? Number four, “price.” And lastly, the NFT needs to have a “documented team”—the people behind it can’t be “ghosts on the internet.” He needs to be able to find them on LinkedIn.\u003c/p>\n\u003cp>Although Lideros has invested in cryptocurrency since 2018, he’s no metaverse millionaire like \u003ca href=\"https://www.garyvaynerchuk.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Gary Vee\u003c/a>. He’s a 28-year-old Daly City resident who wears Air Jordans, loves hip-hop and works for a loan company. In other words, he’s exactly the kind of investor \u003ca href=\"https://www.instagram.com/jamaltrulove/\" target=\"_blank\" rel=\"noopener noreferrer\">Jamal Trulove\u003c/a> is aiming to attract for his NFT project, \u003ca href=\"https://www.thebayapes.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Bay Apes\u003c/a>: young, for the culture and willing to take a risk with their money.\u003c/p>\n\u003cp>I first met Trulove in San Francisco Chinatown on a chilly evening at the beginning of February. He wore a durag, a mint green sweatsuit and Yeezy slides. I had known the man for all of five minutes before he started pitching me on The Bay Apes.\u003c/p>\n\u003cp>In person, Trulove is like that one cousin we all have who’s always telling you about their next big idea at Thanksgiving even though you don’t really know what they do for a living. Trulove himself does many things: he’s a rapper, \u003ca href=\"https://www.kqed.org/arts/13858829/the-last-black-man-in-san-francisco-hits-home-in-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">an actor\u003c/a>, a community activist, an entrepreneur, a Baydestrian through and through. Guys like him might have their heads in the clouds a bit, but if anyone has the charisma to make those big ideas happen, it’s them.\u003c/p>\n\u003cp>And Trulove is in a unique position to do so. In 2019, he received a $13.1 million payout after \u003ca href=\"https://www.npr.org/2019/03/20/705019611/san-francisco-to-pay-13-1-million-to-man-framed-by-police-for-murder\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco police framed him in a murder case\u003c/a> and he was \u003ca href=\"https://www.huffpost.com/entry/framed-by-police-prison-jamal-trulove_n_5d0bea68e4b07ae90d9a5b3b\" target=\"_blank\" rel=\"noopener noreferrer\">falsely imprisoned for six years\u003c/a>. Since then, he’s invested pieces of his settlement in various creative projects. [aside postid='arts_13881132']\u003c/p>\n\u003cp>As we stood on the sidewalk in Chinatown, countless cars whizzed by and people passed, but Trulove was locked in, talking for 15 minutes straight about his idea to open a members-only nightclub in the Bay Area that caters to “hip-hop culture nightlife,” which Trulove sees as a dying breed in this ever-changing city. In Trulove’s vision, membership is linked to ownership of a Bay Apes NFT.\u003c/p>\n\u003cp>Trulove, who is Black and was born and raised in San Francisco, says he wants “to be able to go out and party with people I recognize, and with dances I recognize, music I recognize and vibe and energy.”\u003c/p>\n\u003cp>Trulove was close to making that dream a reality once before. During our interview, we stand across the street from a building with wood nailed over its windows. It’s the property where Trulove was supposed to open a nightclub called LUV SF with his Bay Apes business partner, Bennett Montoya, who previously owned \u003ca href=\"https://www.kqed.org/arts/13842227/singled-out-inside-sfpds-years-long-effort-to-kill-a-north-beach-nightclub\" target=\"_blank\" rel=\"noopener noreferrer\">Hue Lounge and Nightclub in North Beach\u003c/a>. That was back in March 2020 before—well, I think we all know what happened next. [aside postid='arts_13842227']\u003c/p>\n\u003cp>Though LUV SF never came to fruition, The Bay Apes project is on its way. The NFT collection dropped on April 20 after months of marketing to drum up hype. And it worked: At least \u003ca href=\"https://opensea.io/collection/the-bay-apes-3\" target=\"_blank\" rel=\"noopener noreferrer\">55 people have already purchased 117 Bay Apes\u003c/a> valued at a total of about $170,000 at the time of publication. But they’ve bought into a venture that still has many unknowns. For starters, Trulove hasn’t secured the venue for his new nightclub—access to which is one of the collection’s main draws. Not to mention the few government protections for cryptocurrency investors, and the possibility that the hype around NFTs will wear off.\u003c/p>\n\u003cp>Still, Trulove is confident he can build something great for Bay Area hip-hop culture with The Bay Apes, and he’s cultivated a group of investors who are drawn to the project’s promises of networking, financial opportunity and fun.\u003c/p>\n\u003cp>“It’s like damn near a whole community,” says Lideros. “You’re setting yourself up with like-minded people, not just your average guy off the street at that point. Everybody has connections and something to offer.”\u003c/p>\n\u003cfigure id=\"attachment_13912485\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912485\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-800x547.jpg\" alt=\"\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-1536x1050.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-1920x1313.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamal Trulove poses for a portrait at Hippie Hill on Apr. 20, 2022. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Promise of NFTs with Real-Life Perks\u003c/h2>\n\u003cp>Now, a lot of folks have had the letters “N-F-T” on their lips lately, but how they actually work can still be hard to grasp. So, as a primer, NFTs are basically pieces of digital art that can be sold through online marketplaces, such as \u003ca href=\"https://opensea.io/\" target=\"_blank\" rel=\"noopener noreferrer\">OpenSea\u003c/a> and \u003ca href=\"https://niftygateway.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nifty Gateway\u003c/a>, and bought with cryptocurrency, like Ether or Bitcoin. A record of the purchase lives on a permanent ledger called the blockchain (Ether is the cryptocurrency that runs on the \u003ca href=\"https://ethereum.org/en/\" target=\"_blank\" rel=\"noopener noreferrer\">Ethereum blockchain\u003c/a>). NFT collections, like The Bay Apes, are a group of NFTs that all have a base design template and are produced at a finite number, like trading cards. [aside postid='forum_2010101883054']\u003c/p>\n\u003cp>But perhaps the more pertinent questions are: Why are \u003ca href=\"https://www.vulture.com/2022/02/celebrity-nft-craze.html\" target=\"_blank\" rel=\"noopener noreferrer\">celebrities obsessed with NFTs\u003c/a>, and why have some sold for millions of dollars? In short, it’s for the same reason wealthy people pay obscene amounts of money for traditional art. Each NFT (even if it’s part of a collection) is a one-of-a-kind work whose value increases as hype builds—not to mention that they’re status symbols signifying that you’re hip to digital culture.\u003c/p>\n\u003cp>Trulove wants to use the excitement around NFTs “to not only fundraise, but also as a way to get people in,” he explains. “A way of investing into something—being a part of something—that has a value, ultimately, in this community.”\u003c/p>\n\u003cp>He may be on to something. Experts forecast that the concert industry will soon embrace NFTs. (Gucci Mane and Lupe Fiasco both have shows in June where an \u003ca href=\"https://hypebeast.com/2022/3/lupe-fiasco-gucci-mane-defy-tickets-nft-platform\" target=\"_blank\" rel=\"noopener noreferrer\">NFT will get you through the door\u003c/a>.) Trulove and his nine-person team—made up of Discord specialists, a coder, a merchandiser, a project manager, a media coordinator, an “NFT Oracle” and an artist—want to take this idea one step further by offering perks, many of which sound straight out of a hip-hop music video, at Trulove’s future nightclub.\u003c/p>\n\u003cp>Trulove is selling 2,222 unique Bay Apes NFTs depicting headshots of humanoid primates with varying hairstyles, outfits and expressions, with backgrounds of Bay Area landmarks like the Golden Gate Bridge and the Painted Ladies. (Yes, The Bay Apes collection is stylistically similar to the extremely popular \u003ca href=\"https://www.cnet.com/culture/internet/bored-ape-yacht-club-nfts-everything-you-need-to-know/\" target=\"_blank\" rel=\"noopener noreferrer\">Bored Ape Yacht Club\u003c/a> NFT series, but Trulove claims the ape idea is derived from the word’s slang meaning. As in, “I’m aping out” or “going apeshit.”)\u003c/p>\n\u003cfigure id=\"attachment_13912490\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912490\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/bay-apes-mixer-1-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Illustrations from The Bay Apes NFT collection are on display at a mixer on Feb. 3 at Sunset Squares Pizza in San Francisco. \u003ccite>(Julian Sorapuru/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Each NFT costs 0.5 Ether (the second most popular cryptocurrency behind Bitcoin), or a little over $1,400, at the time of writing. But why would any Bay Area resident spend hard-earned cash that could go towards rent on a digital drawing of a primate?\u003c/p>\n\u003cp>Trulove promises that those with a “male ape” in their digital wallets will be entitled to bottle service twice a month at his nightclub, while “female ape” owners can expect an open bar all night for themselves and three friends twice a month. (The genders of the apes only refer to the characters—anyone can own any Bay Ape regardless of how they identify.) But being a holder of either version of the NFT does not guarantee access to the club at all times. Trulove says this would be unsustainable; instead, Bay Apes owners simply gain the right to book a spot at the club on a specific night on a first-come, first-served basis.\u003c/p>\n\u003cp>The hyper-exclusive dynamic of the club is meant to create a source of passive income for Bay Apes owners. Trulove says those who are able to secure a booking will have the opportunity to resell their reservation, and the perks it comes with, online to the highest bidder while still retaining ownership of their NFT. This is similar to how NBA season ticket holders can resell their seats on Ticketmaster if they don’t go to a particular game.\u003c/p>\n\u003cp>[pullquote citation='Jamal Trulove, The Bay Apes founder' size='large']‘If Ethereum’s not going anywhere, we’re not going anywhere either.’[/pullquote]\u003c/p>\n\u003cp>Trulove and Montoya claim that this is the first small business model ever applied to the nightclub industry that utilizes NFTs as a mark of membership. Unlike many other NFT collections on the market, whose value is primarily determined by its desirability as a collector’s item and the community created among said collectors, The Bay Apes is selling investors on something they see as lacking on the NFT market: tangible utility linked to a physical space.\u003c/p>\n\u003cp>“After about eight months of really just learning and understanding the market and what makes an NFT valuable, I came up with real-life perks,” says Trulove. “That’s what the common person will understand. Why will they buy an NFT? If they could get real-life perks.”\u003c/p>\n\u003ch2>Everything That Glitters Isn’t Sold\u003c/h2>\n\u003cp>The Bay Apes project isn’t without a laundry list of hurdles, though. Chief among them is potential buyers’ anxieties about where their money is going. As Kamantai Fungula, a 29-year-old Oakland native interested in buying a Bay Ape, succinctly puts it: “My biggest concern is buying an NFT that ain’t worth shit.”\u003c/p>\n\u003cp>Being fleeced in the NFT market is such a common occurrence, in fact, that situations where the originator of an NFT collection disappears into thin air has a name: It’s known as being “rug-pulled.” In October, for example, investors in an NFT project that was supposed to produce a video game with the money earned through its mint, called “Evolved Apes” (it also sold simian avatars), were \u003ca href=\"https://www.vice.com/en/article/y3dyem/investors-spent-millions-on-evolved-apes-nfts-then-they-got-scammed\" target=\"_blank\" rel=\"noopener noreferrer\">hoodwinked to the tune of $2.7 million\u003c/a>.\u003c/p>\n\u003cp>Trulove says he’s aware of concerns about his project’s authenticity and that he empathizes with those who hold them. The first time he bought an NFT—which he thought was a legitimate Bored Ape—it was a rug pull. He points to The Bay Apes team’s transparency as a way of earning potential investors’ trust.\u003c/p>\n\u003cp>https://www.instagram.com/p/CcyRTKsPRzR/\u003c/p>\n\u003cp>“In any project, you want to do your education on who the founders are, who’s pushing the project, who’s the developer. And if you look on our site, you see everybody that’s involved, the whole team,” Trulove says. “And all their Instagrams are right there, all of their social medias are right there, you can get directly at them. So we’re doing everything by the book for what we know, ultimately, because NFTs and crypto are always developing.”\u003c/p>\n\u003cp>But how can you do something “by the book” when there are no rules? Currently, there are \u003ca href=\"https://www.jonesday.com/en/insights/2021/04/nfts-key-us-legal-considerations-for-an-emerging-asset-class\" target=\"_blank\" rel=\"noopener noreferrer\">no federal government regulations on NFTs\u003c/a> in the United States, meaning strong consumer protections in this online space, if they come, are further down the road.\u003c/p>\n\u003cp>It’s the wild, wild, web out there, and it can be hard to separate the bandits from the honest lawmen on this new frontier. But as far as Sanjay Singh, 24, is concerned, The Bay Apes Team being accessible and available is sufficient to quell any fear of a rug pull.\u003c/p>\n\u003cp>“If it’s a legitimate group, you can actually message the people that are selling those NFTs and talk to them,” says Singh, who is a member of The Bay Apes whitelist (early adopters to the NFT who got the opportunity to buy it at a discounted price of 0.3 Ether). “I’ve texted them, talked to them personally, before I even bought the NFT and asked them all kinds of questions because they know everything about each and every one of their NFTs… they can tell you the whole background of the entity and what it has, what it offers.” [aside postid='arts_13897823']\u003c/p>\n\u003cp>Just like those who journeyed out to Northern California in 1849 to speculate on the Gold Rush, folks who are looking to invest in the NFT market must also be willing to take a risk on a boom-or-bust industry. Some economic experts have \u003ca href=\"https://www.nytimes.com/2022/01/27/opinion/cryptocurrency-subprime-vulnerable.html\" target=\"_blank\" rel=\"noopener noreferrer\">speculated that the entire NFT market is a bubble\u003c/a> that is set to pop, similar to the subprime mortgage collapse of the mid 2000s that was \u003ca href=\"https://www.nytimes.com/2022/02/07/opinion/crypto-nfts-folk-economics.html\" target=\"_blank\" rel=\"noopener noreferrer\">built on a system that exploited the economically vulnerable\u003c/a>.\u003c/p>\n\u003cp>However, Trulove sees the NFT market as one that’s here to stay. “If Ethereum’s not going anywhere, we’re not going anywhere either,” he says. “We’re just gonna keep on progressing and leveling up, and that smart contract will forever live on the Ethereum blockchain. And as long as we’re doing what we’re supposed to do with the NFTs and we build a value to it, it’s something that you could hold on to forever.”\u003c/p>\n\u003cp>But getting the average person to understand the intricacies of an online market that isn’t grounded in something tangible, like real estate or merchandise, is no easy feat. Nor is trying to convince people who live in a place as expensive as Northern California to drop over a thousand dollars on something without an instant return on investment.\u003c/p>\n\u003cp>I could tell Trulove was frustrated by this reality in late March, when I spoke to him on the phone as he drove to an NFT convention in Los Angeles. He admits that getting people to buy into The Bay Apes has been “an uphill battle, to a degree.” He says he’s encountered resistance when pitching his idea in tech spaces where there are few people who look like him and share his background. He also says he’s had trouble getting commitment from investors: The market value of Ether dipping at the tail end of February is a big reason why the public mint date of The Bay Apes was pushed back from Feb. 22 to the stoner’s holiday, 4/20.\u003c/p>\n\u003cp>“I’d be lying if I said I didn’t feel a lot of pressure because I created this deadline and I’m trying to convince this community of people to agree on one thing, and convert people who have never had an NFT or crypto,” Trulove says.\u003c/p>\n\u003cfigure id=\"attachment_13912486\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912486\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-800x539.jpg\" alt=\"\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-1536x1035.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-1920x1294.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamal Trulove poses for a portrait at Hippie Hill on Apr. 20, 2022. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Getting buy-in aside, there’s another major issue hanging over The Bay Apes team’s heads: They haven’t yet secured a space to house their nightclub, though they have teased the possibility of \u003ca href=\"https://www.instagram.com/p/CcQxtlVtafS/\" target=\"_blank\" rel=\"noopener noreferrer\">opening the club on the water in a yacht\u003c/a> that would cruise around the Bay. In fairness, Trulove has been honest about this conundrum to potential investors. In the meantime, he has plans to do takeovers of other clubs where NFT holders will enjoy their perks and interact with “Elite Apes,” the Bay Area entertainment industry heavyweights who’ve cosigned the project.\u003c/p>\n\u003cp>There’s also the small issue of whether The Bay Apes will flip a profit when all is said and done. Running a club in the Bay Area is already a \u003ca href=\"https://www.kqed.org/arts/13907929/omicron-surge-sf-arts-cancellations-no-emergency-funding\" target=\"_blank\" rel=\"noopener noreferrer\">costly, high-risk endeavor\u003c/a> even when it isn’t financed by something as slippery and untested as an NFT investment model. Not to mention The Bay Apes club will be giving out free drinks left and right to NFT holders.\u003c/p>\n\u003cp>But Montoya claims “the nightclub can sustain the lease and be profitable.”\u003c/p>\n\u003cp>“We are always looking to give our members something, so we’re not really looking at it as like, ‘Oh, we’re gonna make money off you guys.’ We’re looking at it as a network,” Montoya says.\u003c/p>\n\u003cp>The Bay Apes team will command a 15% royalty payment anytime one of their tokens is sold on OpenSea from one owner to another. They say this is where the real money is in NFTs, not in the crowd-funding stage The Bay Apes project is currently in. For this reason, Trulove and his crew are betting on both Ether and The Bay Apes NFT collection trending upwards in value to make back the money they’ve spent, and will continue to spend, as the club nears opening time. Trulove says that’s still eight to 10 months away.\u003c/p>\n\u003ch2>Why The Bay Apes Investors Have Faith\u003c/h2>\n\u003cp>Despite all these challenges and uncertainties, Trulove’s vision has legs. Perhaps a contributing factor is The Bay Apes’ local focus. Among the Elite Apes are \u003ca href=\"https://www.instagram.com/nefthepharaoh/\" target=\"_blank\" rel=\"noopener noreferrer\">Nef the Pharaoh\u003c/a>, \u003ca href=\"http://instagram.com/stunnaman02/\" target=\"_blank\" rel=\"noopener noreferrer\">Stunnaman02\u003c/a> and \u003ca href=\"https://www.instagram.com/gunnagoesglobal/\" target=\"_blank\" rel=\"noopener noreferrer\">Gunna Goes Global\u003c/a>, who have all changed their Instagram profile picture to a Bay Ape in their likeness to promote the project.\u003c/p>\n\u003cp>https://www.instagram.com/p/CcYl5ZUvsER/\u003c/p>\n\u003cp>Karim Mayfield, a San Francisco native, \u003ca href=\"https://www.businesswire.com/news/home/20210121005270/en/Karim-Mayfield-Professional-Boxer-Becomes-San-Francisco%E2%80%99s-Newest-Cannabis-Dispensary-Owner\" target=\"_blank\" rel=\"noopener noreferrer\">cannabis dispensary owner\u003c/a> and retired professional boxer, is one of the high-profile people chosen to be an Elite Ape. Mayfield says he’s into the project because “it’s a good look when you tell somebody, ‘Hey, table’s on me!’ They be thinking you spent a bag!” He continued: “And again, it’s a community of people, so I’m always into communal activities.”\u003c/p>\n\u003cp>The Bay Apes team promises that their NFT will bring investors an opportunity to network with an “exclusive group getting hyphy on the Ethereum blockchain,” according to their website.\u003c/p>\n\u003cp>The first of these networking opportunities came on Feb. 3 at Sunset Squares Pizza (co-owned by Bay Apes investor David Lee). Potential Bay Apes buyers were invited to enjoy an open bar and free pizza while learning more about the project.\u003c/p>\n\u003cp>The Bay Apes team spared no expense on the mixer event (unsurprising, considering Trulove told me that he’s spent about $110,000 on marketing and paying developers). The amenities—including a golden party bus called “\u003ca href=\"https://www.instagram.com/thetwerkulator/\" target=\"_blank\" rel=\"noopener noreferrer\">The Twerkulator\u003c/a>” where attendees could vape aboard—attracted over 100 people, most of whom were people of color who looked to be under the age of 40. Some of them were dressed up—wearing knee-high boots or blazers—while others were more casual, wearing jeans and Giants caps. Almost everyone was networking while a DJ spun tracks by Cam’ron, Kanye West, Jay-Z and Beanie Sigel.\u003c/p>\n\u003cp>Moses Baca, a 38-year-old mixed martial artist who also works in private security, says he was “impressed” by the atmosphere on the night. “Seeing people mix it up like this, this is how it should be done. I’ve seen other guys with their NFT projects and I’m like, ‘This is what you guys should be doing,’” he says.\u003c/p>\n\u003cfigure id=\"attachment_13912491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912491\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/bay-apes-mixer-2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Potential Bay Apes investors mingle at Sunset Squares Pizza in San Francisco on Feb. 3. \u003ccite>(Julian Sorapuru/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From what I gleaned from talking to people, the room was made up of a fair mix of NFT veterans and rookies, of people who were already sold on The Bay Apes idea and those who were more skeptical, and of attendees who had come to the mixer on their own accord versus those who were dragged along by a loved one. Throughout the night, I could see the beginnings of a community, something Trulove feels is of the utmost importance to the success of this project.\u003c/p>\n\u003cp>Lideros, who I met at the mixer, says that even before The Bay Apes NFT minted, he already encountered a helpful community among the nearly 2,500 people who joined \u003ca href=\"https://discord.com/invite/thebayapes\" target=\"_blank\" rel=\"noopener noreferrer\">the project’s Discord server\u003c/a>.\u003c/p>\n\u003cp>“A lot of people are new, you know, this is gonna be their first NFT they’ve ever minted,” says Lideros. “A lot of the other people are experienced, so, I mean, if you walk in there and don’t know anything, there’s gonna be like four to five people that are willing to help you right off the bat.”\u003c/p>\n\u003cp>[pullquote citation='Darrel Lideros, The Bay Apes investor' size='large']\u003cspan style=\"font-weight: 400\">‘\u003c/span>It’s like damn near a whole community. You’re setting yourself up with like-minded people, not just your average guy off the street at that point. Everybody has connections and something to offer.’[/pullquote]\u003c/p>\n\u003cp>One of those NFT first-timers is Fungula, who says he’s interested in The Bay Apes because he is “a big fan of a bunch of the rappers that they minted as Apes,” such as Capolow. “Once they posted it, I just went more in depth myself into the Bay Apes and did my own research and I was blown away by all the Apes that they got,” Fungula says.\u003c/p>\n\u003cp>Fungula has already started spreading the gospel of The Bay Apes. “I was so excited, I just started sending the link to the [mixer] tickets to all my family,” says Fungula, who brought six people with him to the event. “I damn near was saying this is gonna change our lives.”\u003c/p>\n\u003cp>Clearly, the project has some hype surrounding it. Perhaps it’s the proximity to celebrity, the proposed perks or the eye-watering numbers we’ve seen NFTs sell for recently. But, Fungula says, a big contributing factor to his interest in The Bay Apes is its local focus, which makes it a more approachable investment in his eyes.\u003c/p>\n\u003cp>“A lot of the other [NFTs] seem more far-fetched to get out there,” Fungula says. “They don’t seem like something that I can understand–like The Bay Apes, which just feels like something I can understand, because I’m a Bay Ape.” [aside postid='arts_13906950']\u003c/p>\n\u003cp>A few months later, on 4/20, Trulove and his team showed up to Hippie Hill to celebrate The Bay Apes mint date. When Stunnaman02 took the stage to perform “Big Steppin’,” he asked the crowd: “Does anyone know what an NFT is?” This prompted some cheers (and a good amount of boos) before the rapper shouted out Trulove and encouraged fans to follow The Bay Apes’ social media.\u003c/p>\n\u003cp>It remains to be seen which response from the crowd to that question will be more apt. Trulove and his Bay Apes team are taking a risk by promising so much when so little is certain. It’s an ambitious venture—and only time will tell if they can manage to pull it off.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Darrel Lideros started investing in non-fungible tokens (NFTs) in January. He has a checklist that he swears by before he makes any investment decision: Number one, “It has to be hype,” he says. Number two, “community”—the investors have to be helpful to each other. Number three, “utility”—what does he get out of putting his money into it? Number four, “price.” And lastly, the NFT needs to have a “documented team”—the people behind it can’t be “ghosts on the internet.” He needs to be able to find them on LinkedIn.\u003c/p>\n\u003cp>Although Lideros has invested in cryptocurrency since 2018, he’s no metaverse millionaire like \u003ca href=\"https://www.garyvaynerchuk.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Gary Vee\u003c/a>. He’s a 28-year-old Daly City resident who wears Air Jordans, loves hip-hop and works for a loan company. In other words, he’s exactly the kind of investor \u003ca href=\"https://www.instagram.com/jamaltrulove/\" target=\"_blank\" rel=\"noopener noreferrer\">Jamal Trulove\u003c/a> is aiming to attract for his NFT project, \u003ca href=\"https://www.thebayapes.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Bay Apes\u003c/a>: young, for the culture and willing to take a risk with their money.\u003c/p>\n\u003cp>I first met Trulove in San Francisco Chinatown on a chilly evening at the beginning of February. He wore a durag, a mint green sweatsuit and Yeezy slides. I had known the man for all of five minutes before he started pitching me on The Bay Apes.\u003c/p>\n\u003cp>In person, Trulove is like that one cousin we all have who’s always telling you about their next big idea at Thanksgiving even though you don’t really know what they do for a living. Trulove himself does many things: he’s a rapper, \u003ca href=\"https://www.kqed.org/arts/13858829/the-last-black-man-in-san-francisco-hits-home-in-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">an actor\u003c/a>, a community activist, an entrepreneur, a Baydestrian through and through. Guys like him might have their heads in the clouds a bit, but if anyone has the charisma to make those big ideas happen, it’s them.\u003c/p>\n\u003cp>And Trulove is in a unique position to do so. In 2019, he received a $13.1 million payout after \u003ca href=\"https://www.npr.org/2019/03/20/705019611/san-francisco-to-pay-13-1-million-to-man-framed-by-police-for-murder\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco police framed him in a murder case\u003c/a> and he was \u003ca href=\"https://www.huffpost.com/entry/framed-by-police-prison-jamal-trulove_n_5d0bea68e4b07ae90d9a5b3b\" target=\"_blank\" rel=\"noopener noreferrer\">falsely imprisoned for six years\u003c/a>. Since then, he’s invested pieces of his settlement in various creative projects. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As we stood on the sidewalk in Chinatown, countless cars whizzed by and people passed, but Trulove was locked in, talking for 15 minutes straight about his idea to open a members-only nightclub in the Bay Area that caters to “hip-hop culture nightlife,” which Trulove sees as a dying breed in this ever-changing city. In Trulove’s vision, membership is linked to ownership of a Bay Apes NFT.\u003c/p>\n\u003cp>Trulove, who is Black and was born and raised in San Francisco, says he wants “to be able to go out and party with people I recognize, and with dances I recognize, music I recognize and vibe and energy.”\u003c/p>\n\u003cp>Trulove was close to making that dream a reality once before. During our interview, we stand across the street from a building with wood nailed over its windows. It’s the property where Trulove was supposed to open a nightclub called LUV SF with his Bay Apes business partner, Bennett Montoya, who previously owned \u003ca href=\"https://www.kqed.org/arts/13842227/singled-out-inside-sfpds-years-long-effort-to-kill-a-north-beach-nightclub\" target=\"_blank\" rel=\"noopener noreferrer\">Hue Lounge and Nightclub in North Beach\u003c/a>. That was back in March 2020 before—well, I think we all know what happened next. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though LUV SF never came to fruition, The Bay Apes project is on its way. The NFT collection dropped on April 20 after months of marketing to drum up hype. And it worked: At least \u003ca href=\"https://opensea.io/collection/the-bay-apes-3\" target=\"_blank\" rel=\"noopener noreferrer\">55 people have already purchased 117 Bay Apes\u003c/a> valued at a total of about $170,000 at the time of publication. But they’ve bought into a venture that still has many unknowns. For starters, Trulove hasn’t secured the venue for his new nightclub—access to which is one of the collection’s main draws. Not to mention the few government protections for cryptocurrency investors, and the possibility that the hype around NFTs will wear off.\u003c/p>\n\u003cp>Still, Trulove is confident he can build something great for Bay Area hip-hop culture with The Bay Apes, and he’s cultivated a group of investors who are drawn to the project’s promises of networking, financial opportunity and fun.\u003c/p>\n\u003cp>“It’s like damn near a whole community,” says Lideros. “You’re setting yourself up with like-minded people, not just your average guy off the street at that point. Everybody has connections and something to offer.”\u003c/p>\n\u003cfigure id=\"attachment_13912485\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912485\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-800x547.jpg\" alt=\"\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-1536x1050.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5-1920x1313.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-5.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamal Trulove poses for a portrait at Hippie Hill on Apr. 20, 2022. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Promise of NFTs with Real-Life Perks\u003c/h2>\n\u003cp>Now, a lot of folks have had the letters “N-F-T” on their lips lately, but how they actually work can still be hard to grasp. So, as a primer, NFTs are basically pieces of digital art that can be sold through online marketplaces, such as \u003ca href=\"https://opensea.io/\" target=\"_blank\" rel=\"noopener noreferrer\">OpenSea\u003c/a> and \u003ca href=\"https://niftygateway.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Nifty Gateway\u003c/a>, and bought with cryptocurrency, like Ether or Bitcoin. A record of the purchase lives on a permanent ledger called the blockchain (Ether is the cryptocurrency that runs on the \u003ca href=\"https://ethereum.org/en/\" target=\"_blank\" rel=\"noopener noreferrer\">Ethereum blockchain\u003c/a>). NFT collections, like The Bay Apes, are a group of NFTs that all have a base design template and are produced at a finite number, like trading cards. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But perhaps the more pertinent questions are: Why are \u003ca href=\"https://www.vulture.com/2022/02/celebrity-nft-craze.html\" target=\"_blank\" rel=\"noopener noreferrer\">celebrities obsessed with NFTs\u003c/a>, and why have some sold for millions of dollars? In short, it’s for the same reason wealthy people pay obscene amounts of money for traditional art. Each NFT (even if it’s part of a collection) is a one-of-a-kind work whose value increases as hype builds—not to mention that they’re status symbols signifying that you’re hip to digital culture.\u003c/p>\n\u003cp>Trulove wants to use the excitement around NFTs “to not only fundraise, but also as a way to get people in,” he explains. “A way of investing into something—being a part of something—that has a value, ultimately, in this community.”\u003c/p>\n\u003cp>He may be on to something. Experts forecast that the concert industry will soon embrace NFTs. (Gucci Mane and Lupe Fiasco both have shows in June where an \u003ca href=\"https://hypebeast.com/2022/3/lupe-fiasco-gucci-mane-defy-tickets-nft-platform\" target=\"_blank\" rel=\"noopener noreferrer\">NFT will get you through the door\u003c/a>.) Trulove and his nine-person team—made up of Discord specialists, a coder, a merchandiser, a project manager, a media coordinator, an “NFT Oracle” and an artist—want to take this idea one step further by offering perks, many of which sound straight out of a hip-hop music video, at Trulove’s future nightclub.\u003c/p>\n\u003cp>Trulove is selling 2,222 unique Bay Apes NFTs depicting headshots of humanoid primates with varying hairstyles, outfits and expressions, with backgrounds of Bay Area landmarks like the Golden Gate Bridge and the Painted Ladies. (Yes, The Bay Apes collection is stylistically similar to the extremely popular \u003ca href=\"https://www.cnet.com/culture/internet/bored-ape-yacht-club-nfts-everything-you-need-to-know/\" target=\"_blank\" rel=\"noopener noreferrer\">Bored Ape Yacht Club\u003c/a> NFT series, but Trulove claims the ape idea is derived from the word’s slang meaning. As in, “I’m aping out” or “going apeshit.”)\u003c/p>\n\u003cfigure id=\"attachment_13912490\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912490\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/bay-apes-mixer-1-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Illustrations from The Bay Apes NFT collection are on display at a mixer on Feb. 3 at Sunset Squares Pizza in San Francisco. \u003ccite>(Julian Sorapuru/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Each NFT costs 0.5 Ether (the second most popular cryptocurrency behind Bitcoin), or a little over $1,400, at the time of writing. But why would any Bay Area resident spend hard-earned cash that could go towards rent on a digital drawing of a primate?\u003c/p>\n\u003cp>Trulove promises that those with a “male ape” in their digital wallets will be entitled to bottle service twice a month at his nightclub, while “female ape” owners can expect an open bar all night for themselves and three friends twice a month. (The genders of the apes only refer to the characters—anyone can own any Bay Ape regardless of how they identify.) But being a holder of either version of the NFT does not guarantee access to the club at all times. Trulove says this would be unsustainable; instead, Bay Apes owners simply gain the right to book a spot at the club on a specific night on a first-come, first-served basis.\u003c/p>\n\u003cp>The hyper-exclusive dynamic of the club is meant to create a source of passive income for Bay Apes owners. Trulove says those who are able to secure a booking will have the opportunity to resell their reservation, and the perks it comes with, online to the highest bidder while still retaining ownership of their NFT. This is similar to how NBA season ticket holders can resell their seats on Ticketmaster if they don’t go to a particular game.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Trulove and Montoya claim that this is the first small business model ever applied to the nightclub industry that utilizes NFTs as a mark of membership. Unlike many other NFT collections on the market, whose value is primarily determined by its desirability as a collector’s item and the community created among said collectors, The Bay Apes is selling investors on something they see as lacking on the NFT market: tangible utility linked to a physical space.\u003c/p>\n\u003cp>“After about eight months of really just learning and understanding the market and what makes an NFT valuable, I came up with real-life perks,” says Trulove. “That’s what the common person will understand. Why will they buy an NFT? If they could get real-life perks.”\u003c/p>\n\u003ch2>Everything That Glitters Isn’t Sold\u003c/h2>\n\u003cp>The Bay Apes project isn’t without a laundry list of hurdles, though. Chief among them is potential buyers’ anxieties about where their money is going. As Kamantai Fungula, a 29-year-old Oakland native interested in buying a Bay Ape, succinctly puts it: “My biggest concern is buying an NFT that ain’t worth shit.”\u003c/p>\n\u003cp>Being fleeced in the NFT market is such a common occurrence, in fact, that situations where the originator of an NFT collection disappears into thin air has a name: It’s known as being “rug-pulled.” In October, for example, investors in an NFT project that was supposed to produce a video game with the money earned through its mint, called “Evolved Apes” (it also sold simian avatars), were \u003ca href=\"https://www.vice.com/en/article/y3dyem/investors-spent-millions-on-evolved-apes-nfts-then-they-got-scammed\" target=\"_blank\" rel=\"noopener noreferrer\">hoodwinked to the tune of $2.7 million\u003c/a>.\u003c/p>\n\u003cp>Trulove says he’s aware of concerns about his project’s authenticity and that he empathizes with those who hold them. The first time he bought an NFT—which he thought was a legitimate Bored Ape—it was a rug pull. He points to The Bay Apes team’s transparency as a way of earning potential investors’ trust.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“In any project, you want to do your education on who the founders are, who’s pushing the project, who’s the developer. And if you look on our site, you see everybody that’s involved, the whole team,” Trulove says. “And all their Instagrams are right there, all of their social medias are right there, you can get directly at them. So we’re doing everything by the book for what we know, ultimately, because NFTs and crypto are always developing.”\u003c/p>\n\u003cp>But how can you do something “by the book” when there are no rules? Currently, there are \u003ca href=\"https://www.jonesday.com/en/insights/2021/04/nfts-key-us-legal-considerations-for-an-emerging-asset-class\" target=\"_blank\" rel=\"noopener noreferrer\">no federal government regulations on NFTs\u003c/a> in the United States, meaning strong consumer protections in this online space, if they come, are further down the road.\u003c/p>\n\u003cp>It’s the wild, wild, web out there, and it can be hard to separate the bandits from the honest lawmen on this new frontier. But as far as Sanjay Singh, 24, is concerned, The Bay Apes Team being accessible and available is sufficient to quell any fear of a rug pull.\u003c/p>\n\u003cp>“If it’s a legitimate group, you can actually message the people that are selling those NFTs and talk to them,” says Singh, who is a member of The Bay Apes whitelist (early adopters to the NFT who got the opportunity to buy it at a discounted price of 0.3 Ether). “I’ve texted them, talked to them personally, before I even bought the NFT and asked them all kinds of questions because they know everything about each and every one of their NFTs… they can tell you the whole background of the entity and what it has, what it offers.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Just like those who journeyed out to Northern California in 1849 to speculate on the Gold Rush, folks who are looking to invest in the NFT market must also be willing to take a risk on a boom-or-bust industry. Some economic experts have \u003ca href=\"https://www.nytimes.com/2022/01/27/opinion/cryptocurrency-subprime-vulnerable.html\" target=\"_blank\" rel=\"noopener noreferrer\">speculated that the entire NFT market is a bubble\u003c/a> that is set to pop, similar to the subprime mortgage collapse of the mid 2000s that was \u003ca href=\"https://www.nytimes.com/2022/02/07/opinion/crypto-nfts-folk-economics.html\" target=\"_blank\" rel=\"noopener noreferrer\">built on a system that exploited the economically vulnerable\u003c/a>.\u003c/p>\n\u003cp>However, Trulove sees the NFT market as one that’s here to stay. “If Ethereum’s not going anywhere, we’re not going anywhere either,” he says. “We’re just gonna keep on progressing and leveling up, and that smart contract will forever live on the Ethereum blockchain. And as long as we’re doing what we’re supposed to do with the NFTs and we build a value to it, it’s something that you could hold on to forever.”\u003c/p>\n\u003cp>But getting the average person to understand the intricacies of an online market that isn’t grounded in something tangible, like real estate or merchandise, is no easy feat. Nor is trying to convince people who live in a place as expensive as Northern California to drop over a thousand dollars on something without an instant return on investment.\u003c/p>\n\u003cp>I could tell Trulove was frustrated by this reality in late March, when I spoke to him on the phone as he drove to an NFT convention in Los Angeles. He admits that getting people to buy into The Bay Apes has been “an uphill battle, to a degree.” He says he’s encountered resistance when pitching his idea in tech spaces where there are few people who look like him and share his background. He also says he’s had trouble getting commitment from investors: The market value of Ether dipping at the tail end of February is a big reason why the public mint date of The Bay Apes was pushed back from Feb. 22 to the stoner’s holiday, 4/20.\u003c/p>\n\u003cp>“I’d be lying if I said I didn’t feel a lot of pressure because I created this deadline and I’m trying to convince this community of people to agree on one thing, and convert people who have never had an NFT or crypto,” Trulove says.\u003c/p>\n\u003cfigure id=\"attachment_13912486\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912486\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-800x539.jpg\" alt=\"\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-1536x1035.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2-1920x1294.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/20220420_JamalTrulove_NFTSeries-2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamal Trulove poses for a portrait at Hippie Hill on Apr. 20, 2022. \u003ccite>(Amaya Edwards/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Getting buy-in aside, there’s another major issue hanging over The Bay Apes team’s heads: They haven’t yet secured a space to house their nightclub, though they have teased the possibility of \u003ca href=\"https://www.instagram.com/p/CcQxtlVtafS/\" target=\"_blank\" rel=\"noopener noreferrer\">opening the club on the water in a yacht\u003c/a> that would cruise around the Bay. In fairness, Trulove has been honest about this conundrum to potential investors. In the meantime, he has plans to do takeovers of other clubs where NFT holders will enjoy their perks and interact with “Elite Apes,” the Bay Area entertainment industry heavyweights who’ve cosigned the project.\u003c/p>\n\u003cp>There’s also the small issue of whether The Bay Apes will flip a profit when all is said and done. Running a club in the Bay Area is already a \u003ca href=\"https://www.kqed.org/arts/13907929/omicron-surge-sf-arts-cancellations-no-emergency-funding\" target=\"_blank\" rel=\"noopener noreferrer\">costly, high-risk endeavor\u003c/a> even when it isn’t financed by something as slippery and untested as an NFT investment model. Not to mention The Bay Apes club will be giving out free drinks left and right to NFT holders.\u003c/p>\n\u003cp>But Montoya claims “the nightclub can sustain the lease and be profitable.”\u003c/p>\n\u003cp>“We are always looking to give our members something, so we’re not really looking at it as like, ‘Oh, we’re gonna make money off you guys.’ We’re looking at it as a network,” Montoya says.\u003c/p>\n\u003cp>The Bay Apes team will command a 15% royalty payment anytime one of their tokens is sold on OpenSea from one owner to another. They say this is where the real money is in NFTs, not in the crowd-funding stage The Bay Apes project is currently in. For this reason, Trulove and his crew are betting on both Ether and The Bay Apes NFT collection trending upwards in value to make back the money they’ve spent, and will continue to spend, as the club nears opening time. Trulove says that’s still eight to 10 months away.\u003c/p>\n\u003ch2>Why The Bay Apes Investors Have Faith\u003c/h2>\n\u003cp>Despite all these challenges and uncertainties, Trulove’s vision has legs. Perhaps a contributing factor is The Bay Apes’ local focus. Among the Elite Apes are \u003ca href=\"https://www.instagram.com/nefthepharaoh/\" target=\"_blank\" rel=\"noopener noreferrer\">Nef the Pharaoh\u003c/a>, \u003ca href=\"http://instagram.com/stunnaman02/\" target=\"_blank\" rel=\"noopener noreferrer\">Stunnaman02\u003c/a> and \u003ca href=\"https://www.instagram.com/gunnagoesglobal/\" target=\"_blank\" rel=\"noopener noreferrer\">Gunna Goes Global\u003c/a>, who have all changed their Instagram profile picture to a Bay Ape in their likeness to promote the project.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Karim Mayfield, a San Francisco native, \u003ca href=\"https://www.businesswire.com/news/home/20210121005270/en/Karim-Mayfield-Professional-Boxer-Becomes-San-Francisco%E2%80%99s-Newest-Cannabis-Dispensary-Owner\" target=\"_blank\" rel=\"noopener noreferrer\">cannabis dispensary owner\u003c/a> and retired professional boxer, is one of the high-profile people chosen to be an Elite Ape. Mayfield says he’s into the project because “it’s a good look when you tell somebody, ‘Hey, table’s on me!’ They be thinking you spent a bag!” He continued: “And again, it’s a community of people, so I’m always into communal activities.”\u003c/p>\n\u003cp>The Bay Apes team promises that their NFT will bring investors an opportunity to network with an “exclusive group getting hyphy on the Ethereum blockchain,” according to their website.\u003c/p>\n\u003cp>The first of these networking opportunities came on Feb. 3 at Sunset Squares Pizza (co-owned by Bay Apes investor David Lee). Potential Bay Apes buyers were invited to enjoy an open bar and free pizza while learning more about the project.\u003c/p>\n\u003cp>The Bay Apes team spared no expense on the mixer event (unsurprising, considering Trulove told me that he’s spent about $110,000 on marketing and paying developers). The amenities—including a golden party bus called “\u003ca href=\"https://www.instagram.com/thetwerkulator/\" target=\"_blank\" rel=\"noopener noreferrer\">The Twerkulator\u003c/a>” where attendees could vape aboard—attracted over 100 people, most of whom were people of color who looked to be under the age of 40. Some of them were dressed up—wearing knee-high boots or blazers—while others were more casual, wearing jeans and Giants caps. Almost everyone was networking while a DJ spun tracks by Cam’ron, Kanye West, Jay-Z and Beanie Sigel.\u003c/p>\n\u003cp>Moses Baca, a 38-year-old mixed martial artist who also works in private security, says he was “impressed” by the atmosphere on the night. “Seeing people mix it up like this, this is how it should be done. I’ve seen other guys with their NFT projects and I’m like, ‘This is what you guys should be doing,’” he says.\u003c/p>\n\u003cfigure id=\"attachment_13912491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912491\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/bay-apes-mixer-2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/bay-apes-mixer-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Potential Bay Apes investors mingle at Sunset Squares Pizza in San Francisco on Feb. 3. \u003ccite>(Julian Sorapuru/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From what I gleaned from talking to people, the room was made up of a fair mix of NFT veterans and rookies, of people who were already sold on The Bay Apes idea and those who were more skeptical, and of attendees who had come to the mixer on their own accord versus those who were dragged along by a loved one. Throughout the night, I could see the beginnings of a community, something Trulove feels is of the utmost importance to the success of this project.\u003c/p>\n\u003cp>Lideros, who I met at the mixer, says that even before The Bay Apes NFT minted, he already encountered a helpful community among the nearly 2,500 people who joined \u003ca href=\"https://discord.com/invite/thebayapes\" target=\"_blank\" rel=\"noopener noreferrer\">the project’s Discord server\u003c/a>.\u003c/p>\n\u003cp>“A lot of people are new, you know, this is gonna be their first NFT they’ve ever minted,” says Lideros. “A lot of the other people are experienced, so, I mean, if you walk in there and don’t know anything, there’s gonna be like four to five people that are willing to help you right off the bat.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cspan style=\"font-weight: 400\">‘\u003c/span>It’s like damn near a whole community. You’re setting yourself up with like-minded people, not just your average guy off the street at that point. Everybody has connections and something to offer.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of those NFT first-timers is Fungula, who says he’s interested in The Bay Apes because he is “a big fan of a bunch of the rappers that they minted as Apes,” such as Capolow. “Once they posted it, I just went more in depth myself into the Bay Apes and did my own research and I was blown away by all the Apes that they got,” Fungula says.\u003c/p>\n\u003cp>Fungula has already started spreading the gospel of The Bay Apes. “I was so excited, I just started sending the link to the [mixer] tickets to all my family,” says Fungula, who brought six people with him to the event. “I damn near was saying this is gonna change our lives.”\u003c/p>\n\u003cp>Clearly, the project has some hype surrounding it. Perhaps it’s the proximity to celebrity, the proposed perks or the eye-watering numbers we’ve seen NFTs sell for recently. But, Fungula says, a big contributing factor to his interest in The Bay Apes is its local focus, which makes it a more approachable investment in his eyes.\u003c/p>\n\u003cp>“A lot of the other [NFTs] seem more far-fetched to get out there,” Fungula says. “They don’t seem like something that I can understand–like The Bay Apes, which just feels like something I can understand, because I’m a Bay Ape.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A few months later, on 4/20, Trulove and his team showed up to Hippie Hill to celebrate The Bay Apes mint date. When Stunnaman02 took the stage to perform “Big Steppin’,” he asked the crowd: “Does anyone know what an NFT is?” This prompted some cheers (and a good amount of boos) before the rapper shouted out Trulove and encouraged fans to follow The Bay Apes’ social media.\u003c/p>\n\u003cp>It remains to be seen which response from the crowd to that question will be more apt. Trulove and his Bay Apes team are taking a risk by promising so much when so little is certain. It’s an ambitious venture—and only time will tell if they can manage to pull it off.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "As Mask Wearing Dwindles, Touring Musicians Left to Fend for Themselves",
"headTitle": "As Mask Wearing Dwindles, Touring Musicians Left to Fend for Themselves | KQED",
"content": "\u003cp>\u003ca href=\"https://www.instagram.com/p/CciQUSwF__k/\" target=\"_blank\" rel=\"noopener noreferrer\">Videos of passengers rejoicing\u003c/a> went viral on Monday after the Transportation Security Administration (TSA) announced it would \u003ca href=\"https://www.cnbc.com/2022/04/18/florida-judge-overturns-cdc-mask-mandate-for-public-transit-planes.html\" target=\"_blank\" rel=\"noopener noreferrer\">no longer require masks\u003c/a> on planes and public transportation. But for many touring musicians across the country, it wasn’t a moment for cheers—more like a giant, collective gulp.\u003c/p>\n\u003cp>After all, prior to the federal court ruling that prompted the TSA’s policy change, many nightclubs nationwide—\u003ca href=\"https://www.dnalounge.com/backstage/log/2022/04/19.html\" target=\"_blank\" rel=\"noopener noreferrer\">even in COVID-cautious cities like San Francisco\u003c/a>—stopped requiring masks and checking vaccines. Planes and public transportation were some of the last crowded areas where masks were required, and now that final layer of protection has been stripped away.\u003c/p>\n\u003cp>\u003ca href=\"https://www.pbs.org/newshour/health/once-again-u-s-faces-another-covid-19-surge-as-cases-rise-nationally\" target=\"_blank\" rel=\"noopener noreferrer\">COVID cases are climbing in the U.S.\u003c/a> due to the omicron BA.2 subvariant, and public health experts warn that they’re probably \u003ca href=\"https://abcnews.go.com/Health/us-dramatically-undercounting-current-covid-19-resurgence-experts/story?id=84012793\" target=\"_blank\" rel=\"noopener noreferrer\">undercounted because of decreased lab testing\u003c/a>. As a result, some independent artists are weighing health concerns and financial risks against their aspirations to make a living from their craft.\u003c/p>\n\u003cp>“Artists don’t make a ton. Oftentimes they don’t have any health insurance. If they do get sick, it can be a crisis, especially with a sickness like this,” says Oakland rapper \u003ca href=\"http://www.lateefthetruthspeaker.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Lateef the Truthspeaker\u003c/a>.\u003c/p>\n\u003cp>Indeed, if a musician gets COVID on the road, not only would they and their crew lose income from canceled gigs, but they’d also be responsible for out-of-pocket expenses like rescheduled flights and hotels in which to quarantine while far from home. And that’s after two years without touring, the primary way most independent musicians make a living.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Although there’s no official tally of how many touring musicians have gotten COVID on the road recently, \u003ca href=\"https://variety.com/2022/music/news/mask-vaccine-mandates-covid-musicians-coachella-1235236246/\" target=\"_blank\" rel=\"noopener noreferrer\">anecdotal evidence suggests this group is particularly vulnerable\u003c/a>: Artists like Mitski, Spoon and Bob Mould have canceled shows because of COVID outbreaks in recent weeks. And others, such as Los Angeles art-pop singer Sasami, have taken to social media to beg fans to keep their masks on at shows. “If we get Covid and have to cancel shows I’m fully FUCKED,” Sasami wrote.\u003c/p>\n\u003cp>https://twitter.com/sasamiashworth/status/1506057117568020485\u003c/p>\n\u003cp>Lateef has chosen to play mostly local shows in the coming months aside from one performance in Paris in July. “I think asking people to [risk their health] while they’ve had friends or family members that have potentially died from this disease is messed up. It’s a big ask,” he says.\u003c/p>\n\u003cp>While many Americans have resigned themselves to the likelihood of eventually catching COVID, \u003ca href=\"https://www.disabilityscoop.com/2022/03/07/disability-advocates-want-cdc-to-reinstate-indoor-mask-guidelines/29738/\" target=\"_blank\" rel=\"noopener noreferrer\">disability rights activists have been speaking out\u003c/a> about how abandoning masking in crowded settings unnecessarily puts immunocompromised people in harm’s way.\u003c/p>\n\u003cp>That would have been the case for Lateef’s late collaborator \u003ca href=\"https://www.kqed.org/arts/13899378/blackalicious-gift-of-gab-a-celebrated-mc-dies-at-age-50\" target=\"_blank\" rel=\"noopener noreferrer\">Gift of Gab\u003c/a>, the Blackalicious MC who died in 2021 after years of living with diabetes and kidney failure. “Gab was immunocompromised. He wasn’t gonna be able to get a vaccine, and he was very, very frustrated about people’s unwillingness to think about other people or consider their health,” Lateef says. “I just feel like the whole orientation has been wrong in terms of taking care of human beings during this time.”\u003c/p>\n\u003cp>Berkeley rapper Al Patrone agrees. Although he would have loved to organize concerts for his group \u003ca href=\"https://hellaskeletonsrecords.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Blazewave\u003c/a> this summer, he decided to take a job with a video game company in South Korea instead. A big part of the draw is that country’s culture of masking, robust public health messaging and temperature checks.\u003c/p>\n\u003cp>“Going there it was like, checks everywhere, masks everywhere. Everyone was on top of it,” he says of his time in South Korea last summer. “So, coming back here, I would love to tour, but I don’t think America has stepped up in a technological way to make people feel safe as far as taking temperatures and keeping track of outbreaks.”\u003c/p>\n\u003cp>Robbie Kowal, owner of Bay Area event production company \u003ca href=\"https://www.hushconcerts.com/\" target=\"_blank\" rel=\"noopener noreferrer\">HUSHconcerts\u003c/a>, would like to see masks and vaccine checks continue in the U.S.. But lately, he’s been coming to grips with the reality that many people have given up. “It got turned into this polarizing thing, and no one wants to fight a war over public health anymore,” he tells me over the phone while driving from Coachella, where he and his staff put on a silent disco at the music festival. [aside postid='arts_13912128']\u003c/p>\n\u003cp>This year, Coachella did away with masking, vaccine checks and PCR tests, a move that \u003ca href=\"https://pitchfork.com/thepitch/coachellas-plan-to-lift-covid-19-rules-worries-health-experts/\" target=\"_blank\" rel=\"noopener noreferrer\">prompted outcry among public health experts\u003c/a>. And Kowal says that many contracts from talent agencies now come with clauses that make promoters financially liable for canceling shows out of safety concerns if there’s no government mandate to do so. That’s even if there’s a new virus outbreak.\u003c/p>\n\u003cp>“In my case, I’m going to do what I need to do to protect myself and my staff—that means getting them vaxxed, making sure they have access to the high-grade masks if they want them,” says Kowal, noting that he’s immunocompromised and wears an N95 mask on planes and in crowds.\u003c/p>\n\u003cp>“There’s nothing I can do about it, so I can try to control my own area and my own tour family to wade through whatever’s going to happen,” says \u003ca href=\"https://www.instagram.com/therocknrolllaundry/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Robert Schneider\u003c/a>, a San Leandro concert production manager who recently wrapped up a 19-city tour with Korn where the band and crew were tested at random. He says no one got sick.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A 40-year veteran of the business, Schneider went the extra mile to make sure the musicians he went on tour with would stay safe: He got certified as a COVID compliance officer at the start of the pandemic. “I can assure you that as a touring community, we will likely be more careful than the general public.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.instagram.com/p/CciQUSwF__k/\" target=\"_blank\" rel=\"noopener noreferrer\">Videos of passengers rejoicing\u003c/a> went viral on Monday after the Transportation Security Administration (TSA) announced it would \u003ca href=\"https://www.cnbc.com/2022/04/18/florida-judge-overturns-cdc-mask-mandate-for-public-transit-planes.html\" target=\"_blank\" rel=\"noopener noreferrer\">no longer require masks\u003c/a> on planes and public transportation. But for many touring musicians across the country, it wasn’t a moment for cheers—more like a giant, collective gulp.\u003c/p>\n\u003cp>After all, prior to the federal court ruling that prompted the TSA’s policy change, many nightclubs nationwide—\u003ca href=\"https://www.dnalounge.com/backstage/log/2022/04/19.html\" target=\"_blank\" rel=\"noopener noreferrer\">even in COVID-cautious cities like San Francisco\u003c/a>—stopped requiring masks and checking vaccines. Planes and public transportation were some of the last crowded areas where masks were required, and now that final layer of protection has been stripped away.\u003c/p>\n\u003cp>\u003ca href=\"https://www.pbs.org/newshour/health/once-again-u-s-faces-another-covid-19-surge-as-cases-rise-nationally\" target=\"_blank\" rel=\"noopener noreferrer\">COVID cases are climbing in the U.S.\u003c/a> due to the omicron BA.2 subvariant, and public health experts warn that they’re probably \u003ca href=\"https://abcnews.go.com/Health/us-dramatically-undercounting-current-covid-19-resurgence-experts/story?id=84012793\" target=\"_blank\" rel=\"noopener noreferrer\">undercounted because of decreased lab testing\u003c/a>. As a result, some independent artists are weighing health concerns and financial risks against their aspirations to make a living from their craft.\u003c/p>\n\u003cp>“Artists don’t make a ton. Oftentimes they don’t have any health insurance. If they do get sick, it can be a crisis, especially with a sickness like this,” says Oakland rapper \u003ca href=\"http://www.lateefthetruthspeaker.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Lateef the Truthspeaker\u003c/a>.\u003c/p>\n\u003cp>Indeed, if a musician gets COVID on the road, not only would they and their crew lose income from canceled gigs, but they’d also be responsible for out-of-pocket expenses like rescheduled flights and hotels in which to quarantine while far from home. And that’s after two years without touring, the primary way most independent musicians make a living.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Lateef has chosen to play mostly local shows in the coming months aside from one performance in Paris in July. “I think asking people to [risk their health] while they’ve had friends or family members that have potentially died from this disease is messed up. It’s a big ask,” he says.\u003c/p>\n\u003cp>While many Americans have resigned themselves to the likelihood of eventually catching COVID, \u003ca href=\"https://www.disabilityscoop.com/2022/03/07/disability-advocates-want-cdc-to-reinstate-indoor-mask-guidelines/29738/\" target=\"_blank\" rel=\"noopener noreferrer\">disability rights activists have been speaking out\u003c/a> about how abandoning masking in crowded settings unnecessarily puts immunocompromised people in harm’s way.\u003c/p>\n\u003cp>That would have been the case for Lateef’s late collaborator \u003ca href=\"https://www.kqed.org/arts/13899378/blackalicious-gift-of-gab-a-celebrated-mc-dies-at-age-50\" target=\"_blank\" rel=\"noopener noreferrer\">Gift of Gab\u003c/a>, the Blackalicious MC who died in 2021 after years of living with diabetes and kidney failure. “Gab was immunocompromised. He wasn’t gonna be able to get a vaccine, and he was very, very frustrated about people’s unwillingness to think about other people or consider their health,” Lateef says. “I just feel like the whole orientation has been wrong in terms of taking care of human beings during this time.”\u003c/p>\n\u003cp>Berkeley rapper Al Patrone agrees. Although he would have loved to organize concerts for his group \u003ca href=\"https://hellaskeletonsrecords.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Blazewave\u003c/a> this summer, he decided to take a job with a video game company in South Korea instead. A big part of the draw is that country’s culture of masking, robust public health messaging and temperature checks.\u003c/p>\n\u003cp>“Going there it was like, checks everywhere, masks everywhere. Everyone was on top of it,” he says of his time in South Korea last summer. “So, coming back here, I would love to tour, but I don’t think America has stepped up in a technological way to make people feel safe as far as taking temperatures and keeping track of outbreaks.”\u003c/p>\n\u003cp>Robbie Kowal, owner of Bay Area event production company \u003ca href=\"https://www.hushconcerts.com/\" target=\"_blank\" rel=\"noopener noreferrer\">HUSHconcerts\u003c/a>, would like to see masks and vaccine checks continue in the U.S.. But lately, he’s been coming to grips with the reality that many people have given up. “It got turned into this polarizing thing, and no one wants to fight a war over public health anymore,” he tells me over the phone while driving from Coachella, where he and his staff put on a silent disco at the music festival. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This year, Coachella did away with masking, vaccine checks and PCR tests, a move that \u003ca href=\"https://pitchfork.com/thepitch/coachellas-plan-to-lift-covid-19-rules-worries-health-experts/\" target=\"_blank\" rel=\"noopener noreferrer\">prompted outcry among public health experts\u003c/a>. And Kowal says that many contracts from talent agencies now come with clauses that make promoters financially liable for canceling shows out of safety concerns if there’s no government mandate to do so. That’s even if there’s a new virus outbreak.\u003c/p>\n\u003cp>“In my case, I’m going to do what I need to do to protect myself and my staff—that means getting them vaxxed, making sure they have access to the high-grade masks if they want them,” says Kowal, noting that he’s immunocompromised and wears an N95 mask on planes and in crowds.\u003c/p>\n\u003cp>“There’s nothing I can do about it, so I can try to control my own area and my own tour family to wade through whatever’s going to happen,” says \u003ca href=\"https://www.instagram.com/therocknrolllaundry/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Robert Schneider\u003c/a>, a San Leandro concert production manager who recently wrapped up a 19-city tour with Korn where the band and crew were tested at random. He says no one got sick.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A 40-year veteran of the business, Schneider went the extra mile to make sure the musicians he went on tour with would stay safe: He got certified as a COVID compliance officer at the start of the pandemic. “I can assure you that as a touring community, we will likely be more careful than the general public.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>After a successful pandemic-era return last Halloween, \u003ca href=\"https://sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Outside Lands\u003c/a> comes back to Golden Gate Park Aug. 5-7 with headliners R&B singer SZA, rapper Post Malone and Berkeley pop-punk icons Green Day.\u003c/p>\n\u003cp>The festival attracts tens of thousands music fans to San Francisco each year for a weekend of performances, culinary delights and cannabis. The rest of the lineup, announced today, also features rappers Jack Harlow, Lil Uzi Vert and Pusha T; alternative rock acts like Weezer, Phoebe Bridgers, Mitski and Washed Out; electronic musicians Disclosure and Polo & Pan; and glitchy, experimental hyperpop artists 100 Gecs and Pussy Riot. [aside postid='arts_13905536']\u003c/p>\n\u003cp>In addition to Green Day, there are several Bay Area hometown heroes on the lineup, including rapper Larry June and orchestral pop artist Spellling. The rave-like SOMA Tent, which debuted last year, also makes a return with Dirtybird Records founder Claude Von Stroke, TOKiMONSTA and more.\u003c/p>\n\u003ch2>Full lineup\u003c/h2>\n\u003cp>\u003cstrong>Green Day\u003cbr>\nPost Malone\u003cbr>\nSZA\u003cbr>\nJack Harlow\u003cbr>\nWeezer\u003cbr>\nPhoebe Bridgers\u003cbr>\nIllenium\u003cbr>\nLil Uzi Vert\u003cbr>\nKali Uchis\u003cbr>\nDisclosure\u003cbr>\nMitski\u003cbr>\nPolo & Pan\u003cbr>\nAnitta\u003cbr>\nDominic Fike\u003cbr>\nOliver Tree\u003cbr>\nMac DeMarco\u003cbr>\nPusha T\u003cbr>\nMt. Joy\u003cbr>\nKim Petras\u003cbr>\nLocal Natives\u003cbr>\nThe Marías\u003cbr>\nLarry June\u003cbr>\n100 Gecs\u003cbr>\nParcels\u003cbr>\nDayglow\u003cbr>\nPurple Disco Machine\u003cbr>\nHiatus Kaiyote\u003cbr>\nWashed Out\u003cbr>\nAshe\u003cbr>\nSurf Mesa\u003cbr>\nWet Leg\u003cbr>\nSam Fender\u003cbr>\nRole Model\u003cbr>\nBaby Tate\u003cbr>\nThe Backseat Lovers\u003cbr>\nAmber Mark\u003cbr>\nBest Coast\u003cbr>\nFranc Moody\u003cbr>\nPussy Riot\u003cbr>\nDuckwrth\u003cbr>\nEmpress Of\u003cbr>\nRostam\u003cbr>\nZoe Wees\u003cbr>\nFaye Webster\u003cbr>\nGriff\u003cbr>\nAnna Lunoe\u003cbr>\nKennyHoopla\u003cbr>\nMaxo Kream\u003cbr>\nLido Pimienta\u003cbr>\nBriston Maroney\u003cbr>\nSampa The Great\u003cbr>\nDel Water Gap\u003cbr>\nRobert Glasper\u003cbr>\nInner Wave\u003cbr>\nTyla Yaweh\u003cbr>\nGlaive\u003cbr>\nThe Beths\u003cbr>\nPetey\u003cbr>\nOdie\u003cbr>\nBenny Sings\u003cbr>\nThuy\u003cbr>\nMICHELLE\u003cbr>\nJelani Aryeh\u003cbr>\nWilderado\u003cbr>\nCory Henry\u003cbr>\nThe Emo Night Tour\u003cbr>\nPawPaw Rod\u003cbr>\nL’Rain\u003cbr>\nCassandra Jenkins\u003cbr>\nUnusual Demont\u003cbr>\nForester\u003cbr>\nThe BLSSM\u003cbr>\nSPELLLING\u003cbr>\nTre’ Amani\u003c/strong>\u003c/p>\n\u003ch2>Soma Tent\u003c/h2>\n\u003cp>\u003cstrong>Claude VonStroke\u003cbr>\nDixon\u003cbr>\nTOKiMONSTA\u003cbr>\nAbsolute.\u003cbr>\nAMÉMÉ\u003cbr>\nANNA\u003cbr>\nAvalon Emerson\u003cbr>\nBarry Can’t Swim\u003cbr>\nCassian\u003cbr>\nDJ Minx\u003cbr>\nDJ Seinfeld\u003cbr>\nEllen Allien\u003cbr>\nIndia Jordan\u003cbr>\nJ. Worra\u003cbr>\nJOPLYN\u003cbr>\nMajor League Djz\u003cbr>\nMPHD b2b Tiffany Tyson\u003cbr>\nPerel\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After a successful pandemic-era return last Halloween, \u003ca href=\"https://sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Outside Lands\u003c/a> comes back to Golden Gate Park Aug. 5-7 with headliners R&B singer SZA, rapper Post Malone and Berkeley pop-punk icons Green Day.\u003c/p>\n\u003cp>The festival attracts tens of thousands music fans to San Francisco each year for a weekend of performances, culinary delights and cannabis. The rest of the lineup, announced today, also features rappers Jack Harlow, Lil Uzi Vert and Pusha T; alternative rock acts like Weezer, Phoebe Bridgers, Mitski and Washed Out; electronic musicians Disclosure and Polo & Pan; and glitchy, experimental hyperpop artists 100 Gecs and Pussy Riot. \u003c/p>\u003c/div>",
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"title": "An Unlikely Form of Abortion Rights Protest: Crossword Puzzles",
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"content": "\u003cp>“I have been angry and anxious about reproductive rights for a long time,” says \u003ca href=\"https://kateschmatecrosswords.weebly.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kate Chin Park\u003c/a>, a custom furniture maker from Oakland. “And unfortunately, because abortion services have been made so scarce in many places, donations from private individuals are a really important way to try and get people access to the care they need.”\u003c/p>\n\u003cp>Chin Park is one of four Bay Area creatives who constructed crossword designs for \u003cem>These Puzzles Fund Abortion Too\u003c/em>, a pack of 16 puzzles created to raise money for reproductive rights, which launched on March 1. Chin Park describes her fellow puzzle-builders on the project as “the most interesting, envelope-pushing, brilliant, and funny people writing crosswords today.”\u003c/p>\n\u003cp>Chin Park’s contribution was an acrostic titled “Intolerable!” that she designed with her friend \u003ca href=\"https://twitter.com/wordgarbler\" target=\"_blank\" rel=\"noopener noreferrer\">Chris Piuma\u003c/a>. “I’m appreciative that this project specifically seeks to benefit people in severely under-served areas,” she says. “I’m just extremely grateful to be a small part of it.”\u003c/p>\n\u003cfigure id=\"attachment_13911865\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911865\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/TPFA2-800x926.png\" alt=\"\" width=\"600\" height=\"695\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/TPFA2-800x926.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/TPFA2-160x185.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/TPFA2-768x889.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/TPFA2.png 912w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">TPFA2.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>These Puzzles Fund Abortion Too\u003c/em> (\u003cem>TPFA2\u003c/em>) is the follow-up to a 2020 crossword pack curated by \u003ca href=\"https://twitter.com/faBioethics\" target=\"_blank\" rel=\"noopener noreferrer\">Rachel Fabi\u003c/a>. Fabi is an assistant professor of bioethics and humanities and regular \u003cem>New York Times\u003c/em> crossword contributor, based in Syracuse, NY. She was inspired to launch the project after seeing similar packs by \u003ca href=\"http://www.queerqrosswords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Queer Qrosswords\u003c/a> and \u003ca href=\"https://www.pattivarol.com/women-of-letters\" target=\"_blank\" rel=\"noopener noreferrer\">Women of Letters\u003c/a>. After donating a single crossword design to a 2019 fundraiser for the \u003ca href=\"https://www.baltimoreabortionfund.org/about\" target=\"_blank\" rel=\"noopener noreferrer\">Baltimore Abortion Fund\u003c/a>, Fabi suspected a full set would have a much greater impact. It did—\u003cem>These Puzzles Fund Abortion\u003c/em> went on to raise nearly $65,000.\u003c/p>\n\u003cp>“The 2020 pack raised so much more money than any of us expected,” Fabi tells KQED Arts, “so this year I decided to do it again.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fabi shared editing duties this time around with her friends and fellow puzzle-makers \u003ca href=\"https://twitter.com/xandraladee\" target=\"_blank\" rel=\"noopener noreferrer\">Brooke Husic\u003c/a> and Claire Rimkus. “They have been absolutely instrumental to its success,” Fabi emphasizes. “Both iterations of \u003cem>TPFA\u003c/em> drew on our constructor friends, and we wanted to feature a mix of established constructors and newer voices. It may be a coincidence that so many are from the Bay Area, [but] I think there is a lot of constructing talent there.”\u003c/p>\n\u003cfigure id=\"attachment_13911862\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911862\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Screen-Shot-2022-04-12-at-5.28.13-PM-800x581.png\" alt=\"a crossword puzzle designed to look like the female reproductive system\" width=\"800\" height=\"581\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-12-at-5.28.13-PM-800x581.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-12-at-5.28.13-PM-1020x741.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-12-at-5.28.13-PM-160x116.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-12-at-5.28.13-PM-768x558.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-12-at-5.28.13-PM-1536x1115.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-12-at-5.28.13-PM-2048x1487.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-12-at-5.28.13-PM-1920x1394.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Mass Hysteria,” a puzzle constructed by Rachel Fabi and Rebecca Goldstein, uses grid art to depict the female reproductive system. \u003ccite>(Courtesy of Rachel Fabi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other Bay Area contributors include \u003ca href=\"https://twitter.com/rebecculous?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">Rebecca Goldstein\u003c/a> from Albany, who made “Mass Hysteria”; Enrique Henestroza Anguiano from Oakland, who built “Fair & Right”; and \u003ca href=\"https://twitter.com/kateshawkins\" target=\"_blank\" rel=\"noopener noreferrer\">Kate Hawkins\u003c/a>, also from Oakland, who created “safe, legal, and now by mail.”\u003c/p>\n\u003cp>Hawkins’ puzzle, as the title indicates, contains several answers on the theme of emergency contraception. A product manager who regularly constructs puzzles for publications like the \u003cem>New York Times\u003c/em>, \u003cem>USA Today\u003c/em> and \u003cem>The Atlantic\u003c/em>, Hawkins says she jumped at the chance to be part of the project.\u003c/p>\n\u003cp>[aside postID='arts_13902723,forum_2010101885421,news_11887229']“When the opportunity arises to do a thing I love,” Hawkins says, “to support a cause I believe so deeply in—access to abortion and reproductive care for everyone—well, I don’t think I’ve ever responded to any email faster. I hope this puzzle pack helps raise funds and encourages donations, especially at a time when access to these basic human rights is unfortunately in jeopardy.”\u003c/p>\n\u003cp>Hawkins says she has been blown away by the tight-knit nature of the crossword constructing community since she joined their ranks in 2019. “This community is filled with awesome people who are incredibly generous with their time,” she says. “The level of talent far exceeds the number of paid publishing opportunities, which, for better or worse, has led to a vibrant indie scene. That includes some very organized folks wrangling puzzle packs like this into being.”\u003c/p>\n\u003cp>\u003cem>TPFA2 \u003c/em>has already raised more than $30,000, and will be available until the end of May. Donations will benefit seven reproductive rights organizations: the Baltimore Abortion Fund, \u003ca href=\"https://abortionfunds.org/fund/tampa-bay-abortion-fund/\" target=\"_blank\" rel=\"noopener noreferrer\">Tampa Bay Abortion Fund\u003c/a>, \u003ca href=\"https://www.kentuckyhealthjusticenetwork.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Kentucky Health Justice Network\u003c/a>, \u003ca href=\"https://www.nyaaf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">New York Abortion Access Fund\u003c/a>, \u003ca href=\"https://midwestaccesscoalition.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Midwest Access Coalition\u003c/a>, \u003ca href=\"https://emafund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Eastern Massachusetts Fund\u003c/a> and \u003ca href=\"https://www.iwrising.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Indigenous Women Rising\u003c/a>.\u003c/p>\n\u003cp>“I’d love for this pack to raise awareness that reproductive justice means more than just protecting Roe v. Wade,” Fabi says. “Even though someone may have a legal right to an abortion, that right is meaningless without the ability to exercise it.”\u003c/p>\n\u003cp>“Ideally though,” she concludes, “my dream is to live in a world where access to abortion care is guaranteed to everyone who chooses it.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘These Puzzles Fund Abortion Too’ can be purchased at the \u003ca href=\"https://fund.nnaf.org/campaign/these-puzzles-fund-abortion-too/c392643#:~:text=These%20Puzzles%20Fund%20Abortion%20Too%20(TPFA2)%20is%20a%20pack%20of,safe%20and%20affordable%20abortion%20care.\" target=\"_blank\" rel=\"noopener noreferrer\">National Network of Abortion Funds website\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "An Unlikely Form of Abortion Rights Protest: Crossword Puzzles | KQED",
"description": "'These Puzzles Fund Abortion Too,' aided by a strong contingent of Bay Area crossword creators, raises funds for seven reproductive rights charities.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I have been angry and anxious about reproductive rights for a long time,” says \u003ca href=\"https://kateschmatecrosswords.weebly.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kate Chin Park\u003c/a>, a custom furniture maker from Oakland. “And unfortunately, because abortion services have been made so scarce in many places, donations from private individuals are a really important way to try and get people access to the care they need.”\u003c/p>\n\u003cp>Chin Park is one of four Bay Area creatives who constructed crossword designs for \u003cem>These Puzzles Fund Abortion Too\u003c/em>, a pack of 16 puzzles created to raise money for reproductive rights, which launched on March 1. Chin Park describes her fellow puzzle-builders on the project as “the most interesting, envelope-pushing, brilliant, and funny people writing crosswords today.”\u003c/p>\n\u003cp>Chin Park’s contribution was an acrostic titled “Intolerable!” that she designed with her friend \u003ca href=\"https://twitter.com/wordgarbler\" target=\"_blank\" rel=\"noopener noreferrer\">Chris Piuma\u003c/a>. “I’m appreciative that this project specifically seeks to benefit people in severely under-served areas,” she says. “I’m just extremely grateful to be a small part of it.”\u003c/p>\n\u003cfigure id=\"attachment_13911865\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911865\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/TPFA2-800x926.png\" alt=\"\" width=\"600\" height=\"695\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/TPFA2-800x926.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/TPFA2-160x185.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/TPFA2-768x889.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/TPFA2.png 912w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">TPFA2.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>These Puzzles Fund Abortion Too\u003c/em> (\u003cem>TPFA2\u003c/em>) is the follow-up to a 2020 crossword pack curated by \u003ca href=\"https://twitter.com/faBioethics\" target=\"_blank\" rel=\"noopener noreferrer\">Rachel Fabi\u003c/a>. Fabi is an assistant professor of bioethics and humanities and regular \u003cem>New York Times\u003c/em> crossword contributor, based in Syracuse, NY. She was inspired to launch the project after seeing similar packs by \u003ca href=\"http://www.queerqrosswords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Queer Qrosswords\u003c/a> and \u003ca href=\"https://www.pattivarol.com/women-of-letters\" target=\"_blank\" rel=\"noopener noreferrer\">Women of Letters\u003c/a>. After donating a single crossword design to a 2019 fundraiser for the \u003ca href=\"https://www.baltimoreabortionfund.org/about\" target=\"_blank\" rel=\"noopener noreferrer\">Baltimore Abortion Fund\u003c/a>, Fabi suspected a full set would have a much greater impact. It did—\u003cem>These Puzzles Fund Abortion\u003c/em> went on to raise nearly $65,000.\u003c/p>\n\u003cp>“The 2020 pack raised so much more money than any of us expected,” Fabi tells KQED Arts, “so this year I decided to do it again.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fabi shared editing duties this time around with her friends and fellow puzzle-makers \u003ca href=\"https://twitter.com/xandraladee\" target=\"_blank\" rel=\"noopener noreferrer\">Brooke Husic\u003c/a> and Claire Rimkus. “They have been absolutely instrumental to its success,” Fabi emphasizes. “Both iterations of \u003cem>TPFA\u003c/em> drew on our constructor friends, and we wanted to feature a mix of established constructors and newer voices. It may be a coincidence that so many are from the Bay Area, [but] I think there is a lot of constructing talent there.”\u003c/p>\n\u003cfigure id=\"attachment_13911862\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911862\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Screen-Shot-2022-04-12-at-5.28.13-PM-800x581.png\" alt=\"a crossword puzzle designed to look like the female reproductive system\" width=\"800\" height=\"581\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-12-at-5.28.13-PM-800x581.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-12-at-5.28.13-PM-1020x741.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-12-at-5.28.13-PM-160x116.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-12-at-5.28.13-PM-768x558.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-12-at-5.28.13-PM-1536x1115.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-12-at-5.28.13-PM-2048x1487.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-12-at-5.28.13-PM-1920x1394.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Mass Hysteria,” a puzzle constructed by Rachel Fabi and Rebecca Goldstein, uses grid art to depict the female reproductive system. \u003ccite>(Courtesy of Rachel Fabi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other Bay Area contributors include \u003ca href=\"https://twitter.com/rebecculous?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">Rebecca Goldstein\u003c/a> from Albany, who made “Mass Hysteria”; Enrique Henestroza Anguiano from Oakland, who built “Fair & Right”; and \u003ca href=\"https://twitter.com/kateshawkins\" target=\"_blank\" rel=\"noopener noreferrer\">Kate Hawkins\u003c/a>, also from Oakland, who created “safe, legal, and now by mail.”\u003c/p>\n\u003cp>Hawkins’ puzzle, as the title indicates, contains several answers on the theme of emergency contraception. A product manager who regularly constructs puzzles for publications like the \u003cem>New York Times\u003c/em>, \u003cem>USA Today\u003c/em> and \u003cem>The Atlantic\u003c/em>, Hawkins says she jumped at the chance to be part of the project.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“When the opportunity arises to do a thing I love,” Hawkins says, “to support a cause I believe so deeply in—access to abortion and reproductive care for everyone—well, I don’t think I’ve ever responded to any email faster. I hope this puzzle pack helps raise funds and encourages donations, especially at a time when access to these basic human rights is unfortunately in jeopardy.”\u003c/p>\n\u003cp>Hawkins says she has been blown away by the tight-knit nature of the crossword constructing community since she joined their ranks in 2019. “This community is filled with awesome people who are incredibly generous with their time,” she says. “The level of talent far exceeds the number of paid publishing opportunities, which, for better or worse, has led to a vibrant indie scene. That includes some very organized folks wrangling puzzle packs like this into being.”\u003c/p>\n\u003cp>\u003cem>TPFA2 \u003c/em>has already raised more than $30,000, and will be available until the end of May. Donations will benefit seven reproductive rights organizations: the Baltimore Abortion Fund, \u003ca href=\"https://abortionfunds.org/fund/tampa-bay-abortion-fund/\" target=\"_blank\" rel=\"noopener noreferrer\">Tampa Bay Abortion Fund\u003c/a>, \u003ca href=\"https://www.kentuckyhealthjusticenetwork.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Kentucky Health Justice Network\u003c/a>, \u003ca href=\"https://www.nyaaf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">New York Abortion Access Fund\u003c/a>, \u003ca href=\"https://midwestaccesscoalition.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Midwest Access Coalition\u003c/a>, \u003ca href=\"https://emafund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Eastern Massachusetts Fund\u003c/a> and \u003ca href=\"https://www.iwrising.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Indigenous Women Rising\u003c/a>.\u003c/p>\n\u003cp>“I’d love for this pack to raise awareness that reproductive justice means more than just protecting Roe v. Wade,” Fabi says. “Even though someone may have a legal right to an abortion, that right is meaningless without the ability to exercise it.”\u003c/p>\n\u003cp>“Ideally though,” she concludes, “my dream is to live in a world where access to abortion care is guaranteed to everyone who chooses it.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘These Puzzles Fund Abortion Too’ can be purchased at the \u003ca href=\"https://fund.nnaf.org/campaign/these-puzzles-fund-abortion-too/c392643#:~:text=These%20Puzzles%20Fund%20Abortion%20Too%20(TPFA2)%20is%20a%20pack%20of,safe%20and%20affordable%20abortion%20care.\" target=\"_blank\" rel=\"noopener noreferrer\">National Network of Abortion Funds website\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "PHOTOS: The Soapbox Derby's Wild Downhill Action in San Francisco",
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"headTitle": "PHOTOS: The Soapbox Derby’s Wild Downhill Action in San Francisco | KQED",
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"content": "\u003cp>The Soapbox Derby made its grand, colorful return to McLaren Park in San Francisco on Sunday with thrills, hills, and spills.\u003c/p>\n\u003cp>Thousands turned out to see 57 art cars, none of them equipped with engines or motors, hurl (and occasionally crawl) precariously downhill. The races took place on John F. Shelly Drive, an under-maintained asphalt obstacle of a street, complete with potholes, cracks, and—presenting a source of sometimes slapstick comedy for the crowd—a speed bump.\u003c/p>\n\u003cp>[aside postID='news_11910363']This was not your ordinary Indy 500-style race. Among the Soapbox Derby categories ranked by the judges: “Slowest,” “Best of the Worst” and “Most Graceful Wipeout.”\u003c/p>\n\u003cp>KGO news anchor Kumasi Aaron and KQED’s own Pendarvis Harshaw, host of \u003cem>\u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" rel=\"noopener noreferrer\" target=\"_blank\">Rightnowish\u003c/a>\u003c/em>, served as race announcers, giving color to every rattling mishap over the “cheese grater” portion of the track. Judges included musician \u003ca href=\"https://www.kqed.org/arts/13900272/de-san-francisco-para-el-mundo-la-donas-star-rises\" rel=\"noopener noreferrer\" target=\"_blank\">La Doña\u003c/a>; Dorcas Moulton, who created the famed “bread car” as \u003ca href=\"https://www.kqed.org/news/11910363/wacky-homemade-cars-will-soon-roll-down-the-hill-in-sfs-mclaren-park-again\" rel=\"noopener noreferrer\" target=\"_blank\">part of the original Soapbox Derby\u003c/a>; drag queen and educator \u003ca href=\"https://www.kqed.org/arts/13472763/storytime-and-stilettos-with-persia\" rel=\"noopener noreferrer\" target=\"_blank\">Per Sia\u003c/a>; and USC professor Amanda Pope.\u003c/p>\n\u003cp>KQED’s Beth LaBerge was there to capture the scene. See the Soapbox Derby’s colorful, creative cars, and the action that ensued, in her photos below. \u003c/p>\n\u003cfigure id=\"attachment_13911742\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911742\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alex Morris and Noah Pilchen sit in a bathtub before racing at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911748\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Whitney Shaw-Brandborg prepares to race in the pencil shaped car, created by her father Richard Shaw, at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911746\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911746\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Wondering Eye’ crashes in a part of the course called the ‘Cheese Grater’ during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911751\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911751\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Peter Taylor races behind ‘MUNI Tunes’ while crossing the finish line at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Cassandra Peña-Govea, AKA La Dona, and drag queen and educator Per Sia judge contestants during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911745\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Shrimp Car’ crosses the finish line during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911757\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joey Enos prepares to race his creation, the ‘Fine To Adequate Art Shipping Crate’, in the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911744\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911744\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Crumple Car’ crosses the finish line during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911753\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911753\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Hairy Eyeball’, created by John Casey, races during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911756\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911756\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Girls Garage’ leaves the startling line during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911758\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Announcer Pendarvis Harshaw, host of KQED’s Rightnowish, speaks during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911743\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Flora 5000’, created by Macro Waves, races at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911752\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911752\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cutouts of drag queens fill the window of Muni Tunes at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911760\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘SCRAPmobile’ creative reuse center soapbox prepares to race during the SFMOMA Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911755\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911755\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Flora 5000’, created by Macro Waves, races at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "See photos from the Soapbox Derby's grand return to McLaren Park, and its colorful, creative cars. ",
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"title": "PHOTOS: The Soapbox Derby's Wild Downhill Action in San Francisco | KQED",
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"headline": "PHOTOS: The Soapbox Derby's Wild Downhill Action in San Francisco",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Soapbox Derby made its grand, colorful return to McLaren Park in San Francisco on Sunday with thrills, hills, and spills.\u003c/p>\n\u003cp>Thousands turned out to see 57 art cars, none of them equipped with engines or motors, hurl (and occasionally crawl) precariously downhill. The races took place on John F. Shelly Drive, an under-maintained asphalt obstacle of a street, complete with potholes, cracks, and—presenting a source of sometimes slapstick comedy for the crowd—a speed bump.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This was not your ordinary Indy 500-style race. Among the Soapbox Derby categories ranked by the judges: “Slowest,” “Best of the Worst” and “Most Graceful Wipeout.”\u003c/p>\n\u003cp>KGO news anchor Kumasi Aaron and KQED’s own Pendarvis Harshaw, host of \u003cem>\u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" rel=\"noopener noreferrer\" target=\"_blank\">Rightnowish\u003c/a>\u003c/em>, served as race announcers, giving color to every rattling mishap over the “cheese grater” portion of the track. Judges included musician \u003ca href=\"https://www.kqed.org/arts/13900272/de-san-francisco-para-el-mundo-la-donas-star-rises\" rel=\"noopener noreferrer\" target=\"_blank\">La Doña\u003c/a>; Dorcas Moulton, who created the famed “bread car” as \u003ca href=\"https://www.kqed.org/news/11910363/wacky-homemade-cars-will-soon-roll-down-the-hill-in-sfs-mclaren-park-again\" rel=\"noopener noreferrer\" target=\"_blank\">part of the original Soapbox Derby\u003c/a>; drag queen and educator \u003ca href=\"https://www.kqed.org/arts/13472763/storytime-and-stilettos-with-persia\" rel=\"noopener noreferrer\" target=\"_blank\">Per Sia\u003c/a>; and USC professor Amanda Pope.\u003c/p>\n\u003cp>KQED’s Beth LaBerge was there to capture the scene. See the Soapbox Derby’s colorful, creative cars, and the action that ensued, in her photos below. \u003c/p>\n\u003cfigure id=\"attachment_13911742\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911742\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alex Morris and Noah Pilchen sit in a bathtub before racing at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911748\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Whitney Shaw-Brandborg prepares to race in the pencil shaped car, created by her father Richard Shaw, at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911746\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911746\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Wondering Eye’ crashes in a part of the course called the ‘Cheese Grater’ during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911751\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911751\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Peter Taylor races behind ‘MUNI Tunes’ while crossing the finish line at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Cassandra Peña-Govea, AKA La Dona, and drag queen and educator Per Sia judge contestants during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911745\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Shrimp Car’ crosses the finish line during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911757\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joey Enos prepares to race his creation, the ‘Fine To Adequate Art Shipping Crate’, in the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911744\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911744\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Crumple Car’ crosses the finish line during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911753\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911753\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Hairy Eyeball’, created by John Casey, races during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911756\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911756\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Girls Garage’ leaves the startling line during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911758\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Announcer Pendarvis Harshaw, host of KQED’s Rightnowish, speaks during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911743\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Flora 5000’, created by Macro Waves, races at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911752\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911752\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cutouts of drag queens fill the window of Muni Tunes at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911760\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘SCRAPmobile’ creative reuse center soapbox prepares to race during the SFMOMA Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911755\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911755\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Flora 5000’, created by Macro Waves, races at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 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"content": "\u003cp>Emilio Delgado, the Mexican American actor who played the character Luis on \u003cem>Sesame Street\u003c/em> for 40 years, died Thursday at his home in New York City after a battle with blood cancer. Delgado was 81.\u003c/p>\n\u003cp>Delgado died surrounded by family, according to his wife Carol, who spoke with \u003ca href=\"https://www.tmz.com/2022/03/10/sesame-street-actor-emilio-delgado-luis-dead-dies/\" rel=\"noopener noreferrer\" target=\"_blank\">TMZ\u003c/a>. Delago had been diagnosed with multiple myeloma in December 2020, and recently was in hospice care. \u003c/p>\n\u003cp>[aside postID='arts_11867386']Delgado joined \u003cem>Sesame Street\u003c/em> in 1971, debuting as Luis the handyman and owner of the “Fix-It Shop.” Later on the show, Luis married Maria, played by Sonia Manzano, and the two were instrumental in introducing Hispanic culture to \u003cem>Sesame Street\u003c/em> viewers. (Manzano retired from the show in 2015.)\u003c/p>\n\u003cp>In 2016, Delgado along with Roscoe Gorman (“Gordon”) and Bob McGrath (“Bob”) were let go from \u003cem>Sesame Street\u003c/em> as part of the show’s retooling after being acquired by HBO, as \u003ca href=\"https://www.kqed.org/arts/11864851/sesame-street-lets-go-longtime-cast-members-bob-gordon-and-luis\" rel=\"noopener noreferrer\" target=\"_blank\">first reported online by KQED Arts\u003c/a>. Reaction by longtime fans and PBS viewers was swift; the three actors were subsequently invited to take part in the show on a per-episode basis. \u003c/p>\n\u003cp>https://youtu.be/QxOft5QZjDI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Delgado’s character Luis was also known for one of Sesame Street’s signature songs, “\u003ca href=\"https://www.youtube.com/watch?v=QxOft5QZjDI\" rel=\"noopener noreferrer\" target=\"_blank\">Sing\u003c/a>,” in which he sang a verse in Spanish.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A stage actor, Delgado was recently seen on the Bay Area stage in \u003ca href=\"https://www.kqed.org/arts/13835456/stereotype-addled-quixote-nuevo-comes-at-a-too-serious-time\" rel=\"noopener noreferrer\" target=\"_blank\">Cal Shakes’ 2018 production of \u003cem>Quixote Nuevo\u003c/em>\u003c/a>, and adaptation of \u003cem>Don Quixote\u003c/em>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Emilio Delgado, the Mexican American actor who played the character Luis on \u003cem>Sesame Street\u003c/em> for 40 years, died Thursday at his home in New York City after a battle with blood cancer. Delgado was 81.\u003c/p>\n\u003cp>Delgado died surrounded by family, according to his wife Carol, who spoke with \u003ca href=\"https://www.tmz.com/2022/03/10/sesame-street-actor-emilio-delgado-luis-dead-dies/\" rel=\"noopener noreferrer\" target=\"_blank\">TMZ\u003c/a>. Delago had been diagnosed with multiple myeloma in December 2020, and recently was in hospice care. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Delgado joined \u003cem>Sesame Street\u003c/em> in 1971, debuting as Luis the handyman and owner of the “Fix-It Shop.” Later on the show, Luis married Maria, played by Sonia Manzano, and the two were instrumental in introducing Hispanic culture to \u003cem>Sesame Street\u003c/em> viewers. (Manzano retired from the show in 2015.)\u003c/p>\n\u003cp>In 2016, Delgado along with Roscoe Gorman (“Gordon”) and Bob McGrath (“Bob”) were let go from \u003cem>Sesame Street\u003c/em> as part of the show’s retooling after being acquired by HBO, as \u003ca href=\"https://www.kqed.org/arts/11864851/sesame-street-lets-go-longtime-cast-members-bob-gordon-and-luis\" rel=\"noopener noreferrer\" target=\"_blank\">first reported online by KQED Arts\u003c/a>. Reaction by longtime fans and PBS viewers was swift; the three actors were subsequently invited to take part in the show on a per-episode basis. \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/QxOft5QZjDI'\n title='//www.youtube.com/embed/QxOft5QZjDI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Delgado’s character Luis was also known for one of Sesame Street’s signature songs, “\u003ca href=\"https://www.youtube.com/watch?v=QxOft5QZjDI\" rel=\"noopener noreferrer\" target=\"_blank\">Sing\u003c/a>,” in which he sang a verse in Spanish.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A stage actor, Delgado was recently seen on the Bay Area stage in \u003ca href=\"https://www.kqed.org/arts/13835456/stereotype-addled-quixote-nuevo-comes-at-a-too-serious-time\" rel=\"noopener noreferrer\" target=\"_blank\">Cal Shakes’ 2018 production of \u003cem>Quixote Nuevo\u003c/em>\u003c/a>, and adaptation of \u003cem>Don Quixote\u003c/em>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Michael Tilson Thomas Goes Public About Cancer, Steps Back from Some Engagements",
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"content": "\u003cp>Michael Tilson Thomas, the former longtime music director of the San Francisco Symphony, announced Wednesday that he has an aggressive form of brain cancer and is taking a step back from professional life.\u003c/p>\n\u003cp>The conductor and composer shared the news publicly for the first time in a signed letter sent to the media by his New York publicist, Constance Shuman.\u003c/p>\n\u003cp>Tilson Thomas has been diagnosed with Glioblastoma Multiforme, a serious form of brain cancer, he says. He has undergone radiotherapy, chemotherapy and surgery to remove the visible signs of the disease. “Currently the cancer is in check,” he writes. “But the future is uncertain as Glioblastoma is a stealthy adversary. Its recurrence is, unfortunately, the rule rather than the exception.”\u003c/p>\n\u003cp>“It takes strength to meet the demands of the music and to collaborate on the highest level with the remarkable musicians who so generously welcomed me,” Tilson Thomas writes in the letter, with reference to the major orchestras including the San Francisco Symphony, the New York Philharmonic and the Los Angeles Philharmonic whom he has led in 20 concerts in recent months. “I now see that it is time for me to consider what level of work and responsibilities I can sustain in the future.”\u003c/p>\n\u003cp>“It was so amazing to have Michael back this January with the magnificent two programs featuring Prokofiev’s Fifth Symphony and Mahler One — pieces that I have a long history of playing with Michael all over the world — and to see him in very good spirits, projecting energy and most of all, love of music and love of all the musicians who were collaborating with him,” said San Francisco Symphony concertmaster Alexander Barantschik in an interview with KQED. “I’m just wishing Michael all I can wish from the bottom of my heart, and I hope to see him soon on stage again. \u003ci>“\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Michael Tilson Thomas has been a longtime friend, mentor, and fellow hippy-at-heart, and his love of adventurous music-making has been one of the most inspiring elements of my life in the Bay Area,” said local composer Mason Bates. “He has much more to contribute and I can’t wait to see what’s next.”\u003c/p>\n\u003cp>Tilson Thomas adds that he plans to reduce his administrative responsibilities and step down from his role as the artistic director of the New World Symphony, the top-tier youth orchestra based in Miami that he co-founded more than 30 years ago. He says he intends to go ahead with currently scheduled conducting engagements in the United States and Europe.\u003c/p>\n\u003cp>“I’m planning more time to wonder, wander, cook, and spend time with loved ones—two legged and four,” he writes by way of signing off. “Life is precious.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Read Michael Tilson Thomas’ letter in full:\u003c/p>\n\u003cfigure id=\"attachment_13909980\" class=\"wp-caption aligncenter\" style=\"max-width: 703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909980\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/A-Letter-from-MTT.jpg\" alt=\"\" width=\"703\" height=\"908\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/A-Letter-from-MTT.jpg 703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/A-Letter-from-MTT-160x207.jpg 160w\" sizes=\"(max-width: 703px) 100vw, 703px\">\u003cfigcaption class=\"wp-caption-text\">Letter from Michael Tilson Thomas, March 2, 2022 \u003ccite>(Printed with permission from Constance Shuman, Publicist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Michael Tilson Thomas, the former longtime music director of the San Francisco Symphony, announced Wednesday that he has an aggressive form of brain cancer and is taking a step back from professional life.\u003c/p>\n\u003cp>The conductor and composer shared the news publicly for the first time in a signed letter sent to the media by his New York publicist, Constance Shuman.\u003c/p>\n\u003cp>Tilson Thomas has been diagnosed with Glioblastoma Multiforme, a serious form of brain cancer, he says. He has undergone radiotherapy, chemotherapy and surgery to remove the visible signs of the disease. “Currently the cancer is in check,” he writes. “But the future is uncertain as Glioblastoma is a stealthy adversary. Its recurrence is, unfortunately, the rule rather than the exception.”\u003c/p>\n\u003cp>“It takes strength to meet the demands of the music and to collaborate on the highest level with the remarkable musicians who so generously welcomed me,” Tilson Thomas writes in the letter, with reference to the major orchestras including the San Francisco Symphony, the New York Philharmonic and the Los Angeles Philharmonic whom he has led in 20 concerts in recent months. “I now see that it is time for me to consider what level of work and responsibilities I can sustain in the future.”\u003c/p>\n\u003cp>“It was so amazing to have Michael back this January with the magnificent two programs featuring Prokofiev’s Fifth Symphony and Mahler One — pieces that I have a long history of playing with Michael all over the world — and to see him in very good spirits, projecting energy and most of all, love of music and love of all the musicians who were collaborating with him,” said San Francisco Symphony concertmaster Alexander Barantschik in an interview with KQED. “I’m just wishing Michael all I can wish from the bottom of my heart, and I hope to see him soon on stage again. \u003ci>“\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Michael Tilson Thomas has been a longtime friend, mentor, and fellow hippy-at-heart, and his love of adventurous music-making has been one of the most inspiring elements of my life in the Bay Area,” said local composer Mason Bates. “He has much more to contribute and I can’t wait to see what’s next.”\u003c/p>\n\u003cp>Tilson Thomas adds that he plans to reduce his administrative responsibilities and step down from his role as the artistic director of the New World Symphony, the top-tier youth orchestra based in Miami that he co-founded more than 30 years ago. He says he intends to go ahead with currently scheduled conducting engagements in the United States and Europe.\u003c/p>\n\u003cp>“I’m planning more time to wonder, wander, cook, and spend time with loved ones—two legged and four,” he writes by way of signing off. “Life is precious.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Read Michael Tilson Thomas’ letter in full:\u003c/p>\n\u003cfigure id=\"attachment_13909980\" class=\"wp-caption aligncenter\" style=\"max-width: 703px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909980\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/A-Letter-from-MTT.jpg\" alt=\"\" width=\"703\" height=\"908\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/A-Letter-from-MTT.jpg 703w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/A-Letter-from-MTT-160x207.jpg 160w\" sizes=\"(max-width: 703px) 100vw, 703px\">\u003cfigcaption class=\"wp-caption-text\">Letter from Michael Tilson Thomas, March 2, 2022 \u003ccite>(Printed with permission from Constance Shuman, Publicist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "Classical Music Has a Diversity Problem. What Does the Solution Look Like?",
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"content": "\u003cp>\u003ca href=\"https://www.jonathan-bingham.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jonathan Bingham\u003c/a> had just finished his work shift at an Apple Store in May 2021 when he saw the voicemail. He had been offered a commission as part of the \u003ca href=\"https://www.jonathan-bingham.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Emerging Black Composers Project\u003c/a>. Shocked, he went into the store’s changing area and stared at his reflection in the mirror.\u003c/p>\n\u003cp>Bingham had worked at the Apple Store since his days as a graduate student at New York University. After graduating in 2016, he juggled a full-time position there with a burgeoning composing career that included residencies at the Arapahoe Philharmonic and Boulder Symphony.\u003c/p>\n\u003cp>From 7am to 4pm, Bingham helped people fix their iPhones. From 5pm to around 10pm, he composed. And then he would do it all over again.\u003c/p>\n\u003cp>Being a finalist for the \u003ca href=\"https://sfcm.edu/emerging-black-composers-project\" target=\"_blank\" rel=\"noopener noreferrer\">Emerging Black Composers Project\u003c/a>, or EBCP, has provided Bingham with an opportunity to start a new chapter in his life as a full-time composer. Upon receiving the news, he put in his two week’s notice and moved from New Jersey to San Francisco.\u003c/p>\n\u003cp>Bingham had applied to the EBCP without giving much thought as to whether or not he could win. He was simply hoping his work would pass before the eyes—and ears—of the renowned composers and conductors on the judging panel.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The project, a 10-year partnership between the San Francisco Conservatory of Music and San Francisco Symphony, aims to spotlight existing talent and nurture the next generation of Black composers in the U.S. While the EBCP doesn’t have the word “competition” in its name, it functions as one. The project has sparked a conversation about how much further classical music has to go to become truly equitable, and whether competitions are an effective tool to promote diversity.\u003c/p>\n\u003cfigure id=\"attachment_13909303\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13909303 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/DISRUPTOR_CONDUCTOR_2019_08_20_FINAL_MASTER00_09_25_23Still010.jpg\" alt=\"Daniel Bartholomew-Poyser conducts a concert at the San Francisco Symphony.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/DISRUPTOR_CONDUCTOR_2019_08_20_FINAL_MASTER00_09_25_23Still010.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/DISRUPTOR_CONDUCTOR_2019_08_20_FINAL_MASTER00_09_25_23Still010-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/DISRUPTOR_CONDUCTOR_2019_08_20_FINAL_MASTER00_09_25_23Still010-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Bartholomew-Poyser, conductor of engagement and education at the San Francisco Symphony, in a still from the film ‘Disruptor Conductor.’ \u003ccite>(San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Facing classical music’s whiteness\u003c/h2>\n\u003cp>“Historically, composers of color have had a much harder time getting their music performed and workshopped,” says \u003ca href=\"https://www.danielbartholomewpoyser.com/bio\" target=\"_blank\" rel=\"noopener noreferrer\">Daniel Bartholomew-Poyser\u003c/a>, chair of the EBCP selection committee and the San Francisco Symphony’s resident conductor of engagement and education. “[The] project is an attempt to address some of that, and to provide points of access to young people from a community that has often previously been denied access.”\u003c/p>\n\u003cp>The San Francisco Conservatory of Music and the San Francisco Symphony launched the EBCP in the aftermath of the 2020 Black Lives Matter protests, which helped set off a racial reckoning within arts organizations nationwide. Major orchestras finally began to grapple with an ongoing problem: their failure to truly reflect their surrounding communities, both in concert programs and on stages.\u003c/p>\n\u003cp>“There’s an assumption that a composer is someone who is of European descent and usually a male,” says \u003ca href=\"http://www.trevorweston.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Trevor Weston\u003c/a>, who received the first-place EBCP commission in 2021. “Visibility is important so that people understand that this tradition has always included people of different backgrounds.”\u003c/p>\n\u003cfigure id=\"attachment_13909307\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909307\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Trevor-Weston-portrait_photo-by-Ayano-Hisa-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Trevor Weston is a music professor at Drew University and the first-place winner of the 2021 Emerging Black Composers Project. \u003ccite>(Ayano-Hisa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Weston received a $15,000 commission to compose a new work for the San Francisco Symphony, a rare opportunity for a contemporary composer. Due to the applicant pool’s strength, the selection committee named three additional finalists—Bingham, \u003ca href=\"http://www.shawnokpebholo.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Shawn Okpebholo\u003c/a> and \u003ca href=\"https://sumitonooka.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sumi Tonooka\u003c/a>. Each received an $8,000 commission to compose a work for the National Brass Ensemble, \u003ca href=\"https://www.oaklandsymphony.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Symphony\u003c/a> and San Francisco Conservatory of Music, respectively. The competition is \u003ca href=\"https://docs.google.com/forms/d/1XQT6eKgEt3SwAQbdAIzLy-hzmJuoidFFlpZkzwB-BRc/viewform?edit_requested=true&fbzx=-6884167788446881650\" target=\"_blank\" rel=\"noopener noreferrer\">accepting applications for its next cohort\u003c/a> through Feb. 14.\u003c/p>\n\u003cp>The four winners have also been receiving mentorship from San Francisco Symphony Music Director \u003ca href=\"https://www.esapekkasalonen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Esa-Pekka Salonen\u003c/a>; \u003ca href=\"http://www.edwinoutwater.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Edwin Outwater\u003c/a>, the music director of the San Francisco Conservatory of Music; and Bartholomew-Poyser. (Bartholomew-Poyser replaced Michael Morgan, the beloved Oakland Symphony conductor—and one of the few Black music directors at a major orchestra—\u003ca href=\"https://www.kqed.org/arts/13901635/michael-morgan-visionary-oakland-symphony-conductor-dies-at-age-63\" target=\"_blank\" rel=\"noopener noreferrer\">who died last year\u003c/a>.)\u003c/p>\n\u003cp>The EBCP’s application guidelines encourage a degree in music performance, composition or “equivalent experience.” Such requirements can narrow down the pool of applicants to those who have taken more traditional career paths, says \u003ca href=\"https://tcarlisroberts.com/\" target=\"_blank\" rel=\"noopener noreferrer\">T. Carlis Roberts\u003c/a>, a composer and former assistant professor of music at UC Berkeley. (Indeed, most of 2021’s winners aren’t exactly “emerging” artists. With the exception of Bingham, all are 40 or older and recognized in their field. The 2022 competition focuses on composers under 35.)\u003c/p>\n\u003cfigure id=\"attachment_13909308\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909308\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Sumi-Tonooka-1-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Sumi-Tonooka-1-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Sumi-Tonooka-1-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Sumi-Tonooka-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Sumi-Tonooka-1-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Sumi-Tonooka-1-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Sumi-Tonooka-1-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Sumi-Tonooka-1-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Sumi-Tonooka-1-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sumi Tonooka, a jazz composer with 30 years of experience creating film scores, won second prize at the Emerging Black Composers Project in 2021. \u003ccite>(San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It seems to me that setting it up where there is this call, a narrow funnel for a couple people to get in on the program, is a setup for tokenization, versus really creating greater access on a broader scale,” says Roberts, who identifies as Black and mixed race.\u003c/p>\n\u003cp>Roberts says organizations that want to create equity, access and diversity should think about just what measures they are willing to take. “Does it mean having brown faces within the same frameworks and roles that have existed?” Roberts says. “Or do you really create a new type of musical conversation?”\u003c/p>\n\u003cp>For Roberts, the answer seems to be the latter. To truly be diverse, he says, organizations should help lead the way in creating a “new terrain” that no longer exclusively centers Western art music. Ultimately, Roberts hopes to see a restructuring of the entire performing arts industry. Often, large, majority white-led arts organizations receive multi-million dollar endowments while community groups that primarily serve communities of color scramble for limited funds.\u003c/p>\n\u003cp>Bartholomew-Poyser’s approach is slightly different. He’s spent a lot of time thinking about ways to increase diversity in the arts, and has crafted a list of questions for arts organizations to ask themselves when considering its equity work. He calls it the “perfect fifths of diversity,” and it consists of five questions: Who is playing? Whose work is being played? Who’s listening? Who’s deciding? How are people treating each other as they do all of this?\u003c/p>\n\u003cp>[pullquote size='large' citation='The ‘perfect fifths of diversity,’ according to Daniel Bartholomew-Poyser']Who is playing? Whose work is being played? Who’s listening? Who’s deciding? How are people treating each other as they do all of this?[/pullquote]\u003c/p>\n\u003cp>The EBCP mostly focuses on one: whose music is being performed. And Bartholomew-Poyser believes that, down the line, projects that seek to increase the number of Black composers will have a ripple effect on the entire classical music industry.\u003c/p>\n\u003cp>“I do believe having these composers highlighted will result in a more diverse audience,” Bartholomew-Poyser says. “But that will be eventually. Eventually.”\u003c/p>\n\u003cp>When asked to respond to concerns about the potential tokenization of contestants, Edwin Outwater of the San Francisco Conservatory of Music acknowledged there are “valid concerns,” and noted that the EBCP is indeed open to composers who don’t come from straightforwardly classical music backgrounds.\u003c/p>\n\u003cp>“In any competition, there are always boundaries that have to be drawn in the application process,” Outwater says. “If someone wins and is incredibly talented and does not have the hugest orchestral background per se, we’re going to provide support if that person really wants to write an orchestral piece.”\u003c/p>\n\u003cp>During the first year of the competition, the selection committee reviewed nearly 100 applications, including some from singer-songwriters, jazz composers and composers of church music, he adds.\u003c/p>\n\u003cfigure id=\"attachment_13909304\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909304\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/1819concerts_1214soundbox_stefancohen_092.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/1819concerts_1214soundbox_stefancohen_092.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/1819concerts_1214soundbox_stefancohen_092-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/1819concerts_1214soundbox_stefancohen_092-768x513.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edwin Outwater conducts a concert for the San Francisco Symphony’s SoundBox series. \u003ccite>(Stefan Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some of last year’s winners indeed bring influences from different musical backgrounds.\u003c/p>\n\u003cp>Tonooka, for example, is a jazz composer and pianist with 30 years of experience writing film scores, including for the Academy Award-nominated 1988 short \u003cem>Family Gathering\u003c/em>.\u003c/p>\n\u003cp>Okpebholo attributes most of his early musical education to the Salvation Army church. He grew up living in government housing in Lexington, Kentucky, and, though his mother could not afford private lessons, he joined a youth brass band. Soon, he started taking free music lessons with the composer \u003ca href=\"http://www.ussmusicandarts.org/james-curnow\" target=\"_blank\" rel=\"noopener noreferrer\">James Curnow\u003c/a>. (Originally, they were meant to be euphonium lessons, but Curnow began teaching him to compose when he was 14 years old.)\u003c/p>\n\u003cp>“Composition is very collaborative,” says Okpebholo, now a professor of composition and music theory at Wheaton College Conservatory of Music. “You need people to perform your music. … The end goal of working with people, or seeing people perform what you have created, was intriguing for me.”\u003c/p>\n\u003cfigure id=\"attachment_13909312\" class=\"wp-caption aligncenter\" style=\"max-width: 760px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909312\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Shawn-Okpebholo-1.jpeg\" alt=\"\" width=\"760\" height=\"1109\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Shawn-Okpebholo-1.jpeg 760w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Shawn-Okpebholo-1-160x233.jpeg 160w\" sizes=\"(max-width: 760px) 100vw, 760px\">\u003cfigcaption class=\"wp-caption-text\">Shawn Okpebholo is a music theory and composition professor at Wheaton College Conservatory of Music. He won second prize in the 2021 Emerging Black Composers Project. \u003ccite>(Courtesy of Shawn Okpebholo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bingham echoed Okpebholo’s sentiments. For a composer, getting your music heard is just as important as writing the piece, he says. Nowadays, there are different ways to do this—posting on social media, organizing a concert of your own music or reaching out to record labels.\u003c/p>\n\u003cp>Competitions like the EBCP directly accomplish what these other methods don’t. That is, they provide an opportunity to deliver your work straight to the hands of famous composers including \u003ca href=\"https://www.earbox.com/\" target=\"_blank\" rel=\"noopener noreferrer\">John Adams\u003c/a> and \u003ca href=\"https://www.wisemusicclassical.com/composer/330/Anthony-Davis/\" target=\"_blank\" rel=\"noopener noreferrer\">Anthony Davis\u003c/a>, who are both on the selection committee.\u003c/p>\n\u003cp>“All I had to do was hit a submit button,” Bingham adds.\u003c/p>\n\u003ch2>Recognizing Black talent that’s already here\u003c/h2>\n\u003cp>For Bingham, what really distinguished the competition from others of its kind was the opportunity to receive mentorship from a composer on the committee, as well as have access to the conservatory’s pool of resources.\u003c/p>\n\u003cp>“I felt that there was more gravity,” he says. “I’m only two months in, but so far I really do feel like I made the right decision.”\u003c/p>\n\u003cp>Living in San Francisco has enabled Bingham to more fully utilize the resources offered—including practice spaces and meetings with faculty, San Francisco Symphony collaborators and donors. Additionally, the conservatory has offered access to recording studios and musicians for \u003ca href=\"https://www.coolstoryrecords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cool Story Records\u003c/a>, a recording project Bingham created to highlight the work of Howard University composers such as Mark Fax, whose compositions were rescued from a trash bin after a custodian cleaned out Fax’s office following his death.\u003c/p>\n\u003cp>Fax is by no means the only Black composer whose work the industry has overlooked. Classical music’s whiteness is apparent—not just in the glossy program books in large concert halls, but also within the pages of the textbooks music students study.\u003c/p>\n\u003cp>Weston, who works as a music professor at Drew University in Madison, New Jersey, has spent decades teaching music theory. Seldom has he come across musical examples composed by Black or female composers in theory textbooks. This has in turn contributed to a narrative of classical music history that excludes the existence of minority and female composers, he says.\u003c/p>\n\u003cp>[pullquote size='large' citation='Trevor Weston']‘Without knowing the history, it’s easy for anyone … to guess that classical music isn’t something that is really connected to [the Black] community.’[/pullquote]\u003c/p>\n\u003cp>“Without knowing the history, it’s easy for anyone … to guess that classical music isn’t something that is really connected to [the Black] community,” says Weston, “There were people of African descent in the United States performing classical music before what we consider modern gospel was created. Many different communities have contributed to what we consider to be concert music or classical music.”\u003c/p>\n\u003cp>Some arts organizations have made incremental changes to respond to this issue.\u003c/p>\n\u003cp>On Jan. 31, the San Francisco Symphony released an hour-long educational video, “\u003ca href=\"https://www.sfsymphony.org/EducationCommunity/Musical-Heroes\" target=\"_blank\" rel=\"noopener noreferrer\">Musical Heroes: Stories of African American Composers\u003c/a>,” which explores the lives, work and impact of Florence Price, William Grant Still and George Walker.\u003c/p>\n\u003cp>The videos, hosted by Bartholomew-Poyser, and corresponding study guides were created to elevate these composers’ music and spark important classroom conversations on topics like the Chicago Black Renaissance and Jim Crow legislation.\u003c/p>\n\u003cp>The San Francisco Conservatory of Music announced Jan. 5 that it was partnering with the San Francisco Ballet to create \u003ca href=\"https://sfcm.edu/newsroom/san-francisco-conservatory-music-and-san-francisco-ballet-partner-new-fellowship-advance\" target=\"_blank\" rel=\"noopener noreferrer\">two fellowship positions for Black string players\u003c/a>, offering full-ride scholarships for the conservatory’s professional studies certificate in instrumental performance, performance opportunities with the San Francisco Ballet Orchestra and additional support.\u003c/p>\n\u003cp>The existence of these efforts at major arts organizations suggests a shift away from the more passive attitudes they held in previous decades. And, hopefully, they can make a difference in the long term.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“We are there, and there are a lot of us,” says Okpebholo. “To engage more with people who look like me and who are doing things like I do—it’s very inspiring and empowering.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.jonathan-bingham.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jonathan Bingham\u003c/a> had just finished his work shift at an Apple Store in May 2021 when he saw the voicemail. He had been offered a commission as part of the \u003ca href=\"https://www.jonathan-bingham.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Emerging Black Composers Project\u003c/a>. Shocked, he went into the store’s changing area and stared at his reflection in the mirror.\u003c/p>\n\u003cp>Bingham had worked at the Apple Store since his days as a graduate student at New York University. After graduating in 2016, he juggled a full-time position there with a burgeoning composing career that included residencies at the Arapahoe Philharmonic and Boulder Symphony.\u003c/p>\n\u003cp>From 7am to 4pm, Bingham helped people fix their iPhones. From 5pm to around 10pm, he composed. And then he would do it all over again.\u003c/p>\n\u003cp>Being a finalist for the \u003ca href=\"https://sfcm.edu/emerging-black-composers-project\" target=\"_blank\" rel=\"noopener noreferrer\">Emerging Black Composers Project\u003c/a>, or EBCP, has provided Bingham with an opportunity to start a new chapter in his life as a full-time composer. Upon receiving the news, he put in his two week’s notice and moved from New Jersey to San Francisco.\u003c/p>\n\u003cp>Bingham had applied to the EBCP without giving much thought as to whether or not he could win. He was simply hoping his work would pass before the eyes—and ears—of the renowned composers and conductors on the judging panel.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The project, a 10-year partnership between the San Francisco Conservatory of Music and San Francisco Symphony, aims to spotlight existing talent and nurture the next generation of Black composers in the U.S. While the EBCP doesn’t have the word “competition” in its name, it functions as one. The project has sparked a conversation about how much further classical music has to go to become truly equitable, and whether competitions are an effective tool to promote diversity.\u003c/p>\n\u003cfigure id=\"attachment_13909303\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13909303 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/DISRUPTOR_CONDUCTOR_2019_08_20_FINAL_MASTER00_09_25_23Still010.jpg\" alt=\"Daniel Bartholomew-Poyser conducts a concert at the San Francisco Symphony.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/DISRUPTOR_CONDUCTOR_2019_08_20_FINAL_MASTER00_09_25_23Still010.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/DISRUPTOR_CONDUCTOR_2019_08_20_FINAL_MASTER00_09_25_23Still010-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/DISRUPTOR_CONDUCTOR_2019_08_20_FINAL_MASTER00_09_25_23Still010-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Bartholomew-Poyser, conductor of engagement and education at the San Francisco Symphony, in a still from the film ‘Disruptor Conductor.’ \u003ccite>(San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Facing classical music’s whiteness\u003c/h2>\n\u003cp>“Historically, composers of color have had a much harder time getting their music performed and workshopped,” says \u003ca href=\"https://www.danielbartholomewpoyser.com/bio\" target=\"_blank\" rel=\"noopener noreferrer\">Daniel Bartholomew-Poyser\u003c/a>, chair of the EBCP selection committee and the San Francisco Symphony’s resident conductor of engagement and education. “[The] project is an attempt to address some of that, and to provide points of access to young people from a community that has often previously been denied access.”\u003c/p>\n\u003cp>The San Francisco Conservatory of Music and the San Francisco Symphony launched the EBCP in the aftermath of the 2020 Black Lives Matter protests, which helped set off a racial reckoning within arts organizations nationwide. Major orchestras finally began to grapple with an ongoing problem: their failure to truly reflect their surrounding communities, both in concert programs and on stages.\u003c/p>\n\u003cp>“There’s an assumption that a composer is someone who is of European descent and usually a male,” says \u003ca href=\"http://www.trevorweston.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Trevor Weston\u003c/a>, who received the first-place EBCP commission in 2021. “Visibility is important so that people understand that this tradition has always included people of different backgrounds.”\u003c/p>\n\u003cfigure id=\"attachment_13909307\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909307\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Trevor-Weston-portrait_photo-by-Ayano-Hisa-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Trevor Weston is a music professor at Drew University and the first-place winner of the 2021 Emerging Black Composers Project. \u003ccite>(Ayano-Hisa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Weston received a $15,000 commission to compose a new work for the San Francisco Symphony, a rare opportunity for a contemporary composer. Due to the applicant pool’s strength, the selection committee named three additional finalists—Bingham, \u003ca href=\"http://www.shawnokpebholo.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Shawn Okpebholo\u003c/a> and \u003ca href=\"https://sumitonooka.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sumi Tonooka\u003c/a>. Each received an $8,000 commission to compose a work for the National Brass Ensemble, \u003ca href=\"https://www.oaklandsymphony.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Symphony\u003c/a> and San Francisco Conservatory of Music, respectively. The competition is \u003ca href=\"https://docs.google.com/forms/d/1XQT6eKgEt3SwAQbdAIzLy-hzmJuoidFFlpZkzwB-BRc/viewform?edit_requested=true&fbzx=-6884167788446881650\" target=\"_blank\" rel=\"noopener noreferrer\">accepting applications for its next cohort\u003c/a> through Feb. 14.\u003c/p>\n\u003cp>The four winners have also been receiving mentorship from San Francisco Symphony Music Director \u003ca href=\"https://www.esapekkasalonen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Esa-Pekka Salonen\u003c/a>; \u003ca href=\"http://www.edwinoutwater.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Edwin Outwater\u003c/a>, the music director of the San Francisco Conservatory of Music; and Bartholomew-Poyser. (Bartholomew-Poyser replaced Michael Morgan, the beloved Oakland Symphony conductor—and one of the few Black music directors at a major orchestra—\u003ca href=\"https://www.kqed.org/arts/13901635/michael-morgan-visionary-oakland-symphony-conductor-dies-at-age-63\" target=\"_blank\" rel=\"noopener noreferrer\">who died last year\u003c/a>.)\u003c/p>\n\u003cp>The EBCP’s application guidelines encourage a degree in music performance, composition or “equivalent experience.” Such requirements can narrow down the pool of applicants to those who have taken more traditional career paths, says \u003ca href=\"https://tcarlisroberts.com/\" target=\"_blank\" rel=\"noopener noreferrer\">T. Carlis Roberts\u003c/a>, a composer and former assistant professor of music at UC Berkeley. (Indeed, most of 2021’s winners aren’t exactly “emerging” artists. With the exception of Bingham, all are 40 or older and recognized in their field. The 2022 competition focuses on composers under 35.)\u003c/p>\n\u003cfigure id=\"attachment_13909308\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13909308\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Sumi-Tonooka-1-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Sumi-Tonooka-1-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Sumi-Tonooka-1-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Sumi-Tonooka-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Sumi-Tonooka-1-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Sumi-Tonooka-1-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Sumi-Tonooka-1-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Sumi-Tonooka-1-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Sumi-Tonooka-1-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sumi Tonooka, a jazz composer with 30 years of experience creating film scores, won second prize at the Emerging Black Composers Project in 2021. \u003ccite>(San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It seems to me that setting it up where there is this call, a narrow funnel for a couple people to get in on the program, is a setup for tokenization, versus really creating greater access on a broader scale,” says Roberts, who identifies as Black and mixed race.\u003c/p>\n\u003cp>Roberts says organizations that want to create equity, access and diversity should think about just what measures they are willing to take. “Does it mean having brown faces within the same frameworks and roles that have existed?” Roberts says. “Or do you really create a new type of musical conversation?”\u003c/p>\n\u003cp>For Roberts, the answer seems to be the latter. To truly be diverse, he says, organizations should help lead the way in creating a “new terrain” that no longer exclusively centers Western art music. Ultimately, Roberts hopes to see a restructuring of the entire performing arts industry. Often, large, majority white-led arts organizations receive multi-million dollar endowments while community groups that primarily serve communities of color scramble for limited funds.\u003c/p>\n\u003cp>Bartholomew-Poyser’s approach is slightly different. He’s spent a lot of time thinking about ways to increase diversity in the arts, and has crafted a list of questions for arts organizations to ask themselves when considering its equity work. He calls it the “perfect fifths of diversity,” and it consists of five questions: Who is playing? Whose work is being played? Who’s listening? Who’s deciding? How are people treating each other as they do all of this?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The EBCP mostly focuses on one: whose music is being performed. And Bartholomew-Poyser believes that, down the line, projects that seek to increase the number of Black composers will have a ripple effect on the entire classical music industry.\u003c/p>\n\u003cp>“I do believe having these composers highlighted will result in a more diverse audience,” Bartholomew-Poyser says. “But that will be eventually. Eventually.”\u003c/p>\n\u003cp>When asked to respond to concerns about the potential tokenization of contestants, Edwin Outwater of the San Francisco Conservatory of Music acknowledged there are “valid concerns,” and noted that the EBCP is indeed open to composers who don’t come from straightforwardly classical music backgrounds.\u003c/p>\n\u003cp>“In any competition, there are always boundaries that have to be drawn in the application process,” Outwater says. “If someone wins and is incredibly talented and does not have the hugest orchestral background per se, we’re going to provide support if that person really wants to write an orchestral piece.”\u003c/p>\n\u003cp>During the first year of the competition, the selection committee reviewed nearly 100 applications, including some from singer-songwriters, jazz composers and composers of church music, he adds.\u003c/p>\n\u003cfigure id=\"attachment_13909304\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909304\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/1819concerts_1214soundbox_stefancohen_092.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/1819concerts_1214soundbox_stefancohen_092.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/1819concerts_1214soundbox_stefancohen_092-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/1819concerts_1214soundbox_stefancohen_092-768x513.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Edwin Outwater conducts a concert for the San Francisco Symphony’s SoundBox series. \u003ccite>(Stefan Cohen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some of last year’s winners indeed bring influences from different musical backgrounds.\u003c/p>\n\u003cp>Tonooka, for example, is a jazz composer and pianist with 30 years of experience writing film scores, including for the Academy Award-nominated 1988 short \u003cem>Family Gathering\u003c/em>.\u003c/p>\n\u003cp>Okpebholo attributes most of his early musical education to the Salvation Army church. He grew up living in government housing in Lexington, Kentucky, and, though his mother could not afford private lessons, he joined a youth brass band. Soon, he started taking free music lessons with the composer \u003ca href=\"http://www.ussmusicandarts.org/james-curnow\" target=\"_blank\" rel=\"noopener noreferrer\">James Curnow\u003c/a>. (Originally, they were meant to be euphonium lessons, but Curnow began teaching him to compose when he was 14 years old.)\u003c/p>\n\u003cp>“Composition is very collaborative,” says Okpebholo, now a professor of composition and music theory at Wheaton College Conservatory of Music. “You need people to perform your music. … The end goal of working with people, or seeing people perform what you have created, was intriguing for me.”\u003c/p>\n\u003cfigure id=\"attachment_13909312\" class=\"wp-caption aligncenter\" style=\"max-width: 760px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13909312\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Shawn-Okpebholo-1.jpeg\" alt=\"\" width=\"760\" height=\"1109\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Shawn-Okpebholo-1.jpeg 760w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Shawn-Okpebholo-1-160x233.jpeg 160w\" sizes=\"(max-width: 760px) 100vw, 760px\">\u003cfigcaption class=\"wp-caption-text\">Shawn Okpebholo is a music theory and composition professor at Wheaton College Conservatory of Music. He won second prize in the 2021 Emerging Black Composers Project. \u003ccite>(Courtesy of Shawn Okpebholo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bingham echoed Okpebholo’s sentiments. For a composer, getting your music heard is just as important as writing the piece, he says. Nowadays, there are different ways to do this—posting on social media, organizing a concert of your own music or reaching out to record labels.\u003c/p>\n\u003cp>Competitions like the EBCP directly accomplish what these other methods don’t. That is, they provide an opportunity to deliver your work straight to the hands of famous composers including \u003ca href=\"https://www.earbox.com/\" target=\"_blank\" rel=\"noopener noreferrer\">John Adams\u003c/a> and \u003ca href=\"https://www.wisemusicclassical.com/composer/330/Anthony-Davis/\" target=\"_blank\" rel=\"noopener noreferrer\">Anthony Davis\u003c/a>, who are both on the selection committee.\u003c/p>\n\u003cp>“All I had to do was hit a submit button,” Bingham adds.\u003c/p>\n\u003ch2>Recognizing Black talent that’s already here\u003c/h2>\n\u003cp>For Bingham, what really distinguished the competition from others of its kind was the opportunity to receive mentorship from a composer on the committee, as well as have access to the conservatory’s pool of resources.\u003c/p>\n\u003cp>“I felt that there was more gravity,” he says. “I’m only two months in, but so far I really do feel like I made the right decision.”\u003c/p>\n\u003cp>Living in San Francisco has enabled Bingham to more fully utilize the resources offered—including practice spaces and meetings with faculty, San Francisco Symphony collaborators and donors. Additionally, the conservatory has offered access to recording studios and musicians for \u003ca href=\"https://www.coolstoryrecords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cool Story Records\u003c/a>, a recording project Bingham created to highlight the work of Howard University composers such as Mark Fax, whose compositions were rescued from a trash bin after a custodian cleaned out Fax’s office following his death.\u003c/p>\n\u003cp>Fax is by no means the only Black composer whose work the industry has overlooked. Classical music’s whiteness is apparent—not just in the glossy program books in large concert halls, but also within the pages of the textbooks music students study.\u003c/p>\n\u003cp>Weston, who works as a music professor at Drew University in Madison, New Jersey, has spent decades teaching music theory. Seldom has he come across musical examples composed by Black or female composers in theory textbooks. This has in turn contributed to a narrative of classical music history that excludes the existence of minority and female composers, he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Without knowing the history, it’s easy for anyone … to guess that classical music isn’t something that is really connected to [the Black] community,” says Weston, “There were people of African descent in the United States performing classical music before what we consider modern gospel was created. Many different communities have contributed to what we consider to be concert music or classical music.”\u003c/p>\n\u003cp>Some arts organizations have made incremental changes to respond to this issue.\u003c/p>\n\u003cp>On Jan. 31, the San Francisco Symphony released an hour-long educational video, “\u003ca href=\"https://www.sfsymphony.org/EducationCommunity/Musical-Heroes\" target=\"_blank\" rel=\"noopener noreferrer\">Musical Heroes: Stories of African American Composers\u003c/a>,” which explores the lives, work and impact of Florence Price, William Grant Still and George Walker.\u003c/p>\n\u003cp>The videos, hosted by Bartholomew-Poyser, and corresponding study guides were created to elevate these composers’ music and spark important classroom conversations on topics like the Chicago Black Renaissance and Jim Crow legislation.\u003c/p>\n\u003cp>The San Francisco Conservatory of Music announced Jan. 5 that it was partnering with the San Francisco Ballet to create \u003ca href=\"https://sfcm.edu/newsroom/san-francisco-conservatory-music-and-san-francisco-ballet-partner-new-fellowship-advance\" target=\"_blank\" rel=\"noopener noreferrer\">two fellowship positions for Black string players\u003c/a>, offering full-ride scholarships for the conservatory’s professional studies certificate in instrumental performance, performance opportunities with the San Francisco Ballet Orchestra and additional support.\u003c/p>\n\u003cp>The existence of these efforts at major arts organizations suggests a shift away from the more passive attitudes they held in previous decades. And, hopefully, they can make a difference in the long term.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We are there, and there are a lot of us,” says Okpebholo. “To engage more with people who look like me and who are doing things like I do—it’s very inspiring and empowering.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The San Francisco Museum of Modern Art \u003ca href=\"https://www.sfmoma.org/press-release/sfmoma-announces-christopher-bedford-as-its-new-director-marking-reimagined-vision-for-the-museum-and-its-community/\" rel=\"noopener noreferrer\" target=\"_blank\">announced today\u003c/a> the appointment of Christopher Bedford as the museum’s new director. Bedford joins SFMOMA from the Baltimore Museum of Art, where he has been director since 2016.\u003c/p>\n\u003cp>[aside postID='arts_13892466']The news comes exactly a year after SFMOMA director \u003ca href=\"https://www.kqed.org/arts/13892466/sfmoma-director-neal-benezra-steps-down\" rel=\"noopener noreferrer\" target=\"_blank\">Neal Benezra announced\u003c/a> he would be stepping down from his role after nearly two decades in the position.\u003c/p>\n\u003cp>“Bedford has been selected to create change, realize SFMOMA’s values, further the museum’s ability to serve both its local Bay Area community and the international art world and lead the museum towards a successful, purposeful and equitable future,” the museum press release reads.\u003c/p>\n\u003cp>In an email to the \u003ci>New York Times\u003c/i>, SFMOMA board member Pamela J. Joyner directly addressed the optics of replacing a white male director with a white male director, especially after SFMOMA’s \u003ca href=\"https://www.kqed.org/arts/13881257/sfmoma-faces-censorship-racism-accusations-over-george-floyd-response\" rel=\"noopener noreferrer\" target=\"_blank\">much-publicized struggles\u003c/a> in the wake of the 2020 Black Lives Matter protests and the subsequent departures of five high-level museum employees, including senior curator \u003ca href=\"https://www.kqed.org/arts/13883305/sfmoma-senior-curator-gary-garrels-resigns-after-reverse-discrimination-comments\" rel=\"noopener noreferrer\" target=\"_blank\">Gary Garrels\u003c/a>.\u003c/p>\n\u003cp>“Though he is not a woman or a person of color, and I understand how that may be an unexpected outcome,” Joyner told the \u003ci>Times\u003c/i>, “I believe he will materially promote the visibility and best interest of those groups based on his past performance.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Today’s announcement cited Bedford’s involvement in projects like Mark Bradford’s presentation for the U.S. Pavilion at the Venice Biennale 2017 and a Mickalene Thomas commission by the Baltimore Museum of Art that transformed a museum lobby into “a living room for the city.” Before coming to Baltimore, Bedford was the director of the Rose Art Museum at Brandeis University. He has also held curatorial positions at the Wexner Center for the Arts at Ohio State University, the Los Angeles County Museum of Art and the J. Paul Getty Museum.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bedford will step into his new role (formally titled the “Helen and Charles Schwab Director”) at SFMOMA in June.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Museum of Modern Art \u003ca href=\"https://www.sfmoma.org/press-release/sfmoma-announces-christopher-bedford-as-its-new-director-marking-reimagined-vision-for-the-museum-and-its-community/\" rel=\"noopener noreferrer\" target=\"_blank\">announced today\u003c/a> the appointment of Christopher Bedford as the museum’s new director. Bedford joins SFMOMA from the Baltimore Museum of Art, where he has been director since 2016.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The news comes exactly a year after SFMOMA director \u003ca href=\"https://www.kqed.org/arts/13892466/sfmoma-director-neal-benezra-steps-down\" rel=\"noopener noreferrer\" target=\"_blank\">Neal Benezra announced\u003c/a> he would be stepping down from his role after nearly two decades in the position.\u003c/p>\n\u003cp>“Bedford has been selected to create change, realize SFMOMA’s values, further the museum’s ability to serve both its local Bay Area community and the international art world and lead the museum towards a successful, purposeful and equitable future,” the museum press release reads.\u003c/p>\n\u003cp>In an email to the \u003ci>New York Times\u003c/i>, SFMOMA board member Pamela J. Joyner directly addressed the optics of replacing a white male director with a white male director, especially after SFMOMA’s \u003ca href=\"https://www.kqed.org/arts/13881257/sfmoma-faces-censorship-racism-accusations-over-george-floyd-response\" rel=\"noopener noreferrer\" target=\"_blank\">much-publicized struggles\u003c/a> in the wake of the 2020 Black Lives Matter protests and the subsequent departures of five high-level museum employees, including senior curator \u003ca href=\"https://www.kqed.org/arts/13883305/sfmoma-senior-curator-gary-garrels-resigns-after-reverse-discrimination-comments\" rel=\"noopener noreferrer\" target=\"_blank\">Gary Garrels\u003c/a>.\u003c/p>\n\u003cp>“Though he is not a woman or a person of color, and I understand how that may be an unexpected outcome,” Joyner told the \u003ci>Times\u003c/i>, “I believe he will materially promote the visibility and best interest of those groups based on his past performance.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Today’s announcement cited Bedford’s involvement in projects like Mark Bradford’s presentation for the U.S. Pavilion at the Venice Biennale 2017 and a Mickalene Thomas commission by the Baltimore Museum of Art that transformed a museum lobby into “a living room for the city.” Before coming to Baltimore, Bedford was the director of the Rose Art Museum at Brandeis University. He has also held curatorial positions at the Wexner Center for the Arts at Ohio State University, the Los Angeles County Museum of Art and the J. Paul Getty Museum.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bedford will step into his new role (formally titled the “Helen and Charles Schwab Director”) at SFMOMA in June.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On Tuesday morning, a call and response of “What do we want?” “Contracts!” “When do we want it?” “Now!” could be heard in front of the California College of the Arts (CCA) San Francisco campus in Potrero Hill. \u003c/p>\n\u003cp>Those chants came from hundreds of staff members, adjunct faculty and students at the college who were taking part in the Feb. 8 strike, but the atmosphere was more akin to that of a midday fiesta with maracas shaking and music playing. A banner read: “Labor justice is social justice. CCA staff & adjuncts deserve fair contracts now!” \u003c/p>\n\u003cp>[aside postID='arts_13855650,arts_13855321' label='More on CCA Staff Union']CCA staff are striking over what they claim to be unfair labor practices at the college amid ongoing collective bargaining agreement negotiations. Participants say this represents the first strike at a private arts college in the U.S. since 2012 and the first strike at a private college in California since a 1976 strike at Pepperdine University.\u003c/p>\n\u003cp>CCA’s chapter of the Service Employees International Union (SEIU) Local 1021 alleges that the college breached labor laws when, without first securing the permission of union representatives, it eliminated the positions of multiple employees who were seeking to come back from a pandemic-induced furlough, offering them different roles—and in at least one instance, lower pay. The union also claims that CCA created multiple seasonal job positions without its blessing. \u003c/p>\n\u003cp>However, in a statement on its website, \u003ca href=\"https://portal.cca.edu/working/office-human-resources/staff-union-updates/collective-bargaining-fact-check/\" rel=\"noopener noreferrer\" target=\"_blank\">the college said\u003c/a> it gave the union proper notice of these changes and that these allegations “are without merit.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The strike is planned to continue on the San Francisco campus through Feb. 11, with the exception of a Feb. 9 demonstration, which will take place on the school’s Oakland campus. Many of the college’s adjunct faculty, tenure or tenure-track faculty, and students are also participating in a sympathy strike. This means a significant amount of the student body will be missing out on classes this week, a scenario CCA administration points to as detrimental for all parties involved.\u003c/p>\n\u003cp>“At a time when we are making rapid progress in negotiations and have reached agreement on so many items, a strike benefits no one—not our staff, not our faculty, and certainly not our students, who have just returned to fully in-person classes for the first time in nearly two years,” a CCA spokesperson wrote in an email to KQED. “The college has called on the union to show respect for the process and continue our progress by coming back to the negotiating table. Our goal is to work together to reach an agreement as quickly as possible and return everyone’s full energy and focus to our core mission of educating students.”\u003c/p>\n\u003cfigure id=\"attachment_13909137\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/018_SanFrancisco_CCAStrike_02082022.jpg\" alt=\"Woman pulls squeegee over screen to make print\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13909137\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/018_SanFrancisco_CCAStrike_02082022.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/018_SanFrancisco_CCAStrike_02082022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/018_SanFrancisco_CCAStrike_02082022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/018_SanFrancisco_CCAStrike_02082022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/018_SanFrancisco_CCAStrike_02082022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/018_SanFrancisco_CCAStrike_02082022-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Architecture student Leyla Dualeh works with a member of the San Francisco Poster Syndicate to make a poster for the CCA staff strike at the San Francisco campus on Feb. 8, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Students speak out in support of the strike\u003c/h2>\n\u003cp>Piper Alldredge, who has worked for four years as a studio manager at the San Francisco campus, called the assertion that the strike is bad for students “a slap in the face” to employees who stuck with CCA during the pandemic.\u003c/p>\n\u003cp>“What about when you furloughed the people who work directly with students? The people who are supporting them every single day in so many different ways that are directly tied to our job descriptions, but also not,” she said in an interview with KQED.\u003c/p>\n\u003cp>Zoë Segura, a junior sculpture major at CCA, attended the strike and helped fellow students create a cardboard recreation of \u003ca href=\"https://en.wikipedia.org/wiki/Tatlin%27s_Tower\" rel=\"noopener noreferrer\" target=\"_blank\">Tatlin’s Tower\u003c/a>—a symbol of communism and the Bolshevik Revolution—to represent that “institutions will fall without labor.” Segura said that the administration’s claim that the strike is bad for students is not reflective of the views of the majority of the student body. \u003c/p>\n\u003cp>“I’ve seen a lot of my peers out here, and I’m very proud of that. I think the general consensus is that we’re all fed up and think that everyone deserves more than they’re getting from CCA,” she said.\u003c/p>\n\u003cp>In September 2021, a regional office of the National Labor Relations Board (NLRB), which enforces U.S. labor law, charged that \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/NLRB_CPT.32-CA-278831.Complaint-and-Notice-of-Hearing-9-27-2152.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">CCA had committed unfair labor practices\u003c/a> and that the college must “bargain in good faith with the Union, on request, within 15 days of a Board Order, not less than twice a week, at least six hour per session, until an agreement or bona fide impasse is reached.” \u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/CCA_Answer.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">CCA responded in October\u003c/a> by denying the NLRB regional office’s request for remedy, instead, exercising their right to a hearing before a judge. \u003c/p>\n\u003cfigure id=\"attachment_13909138\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/024_SanFrancisco_CCAStrike_02082022.jpg\" alt=\"The back of a man with megaphone as he faces a large crowd of strikers\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13909138\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/024_SanFrancisco_CCAStrike_02082022.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/024_SanFrancisco_CCAStrike_02082022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/024_SanFrancisco_CCAStrike_02082022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/024_SanFrancisco_CCAStrike_02082022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/024_SanFrancisco_CCAStrike_02082022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/024_SanFrancisco_CCAStrike_02082022-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Staff, faculty and students at CCA march outside of the San Francisco campus on Feb. 8, 2022, during a staff strike over claims of unfair labor practices. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>CCA employees demand a living wage\u003c/h2>\n\u003cp>Matt Kennedy, CCA’s Local 1021 union president, was one of the employees who said he was offered a minimized role with less pay as a condition of coming back from furlough. Kennedy, who has worked in CCA’s technology department for 10 years, said the financial strain of his 18-month furlough and subsequent demotion was especially difficult because he had a child during the pandemic. \u003c/p>\n\u003cp>Kennedy said he was “one of the very last people to get called back to work,” and added that he feels his demotion and pay cut were “retaliation for my activity with the union.”\u003c/p>\n\u003cp>Despite this, Kennedy returned to CCA.\u003c/p>\n\u003cp>“I want to see us get our first contract, I want to see it really start to improve the lives of our workers,” Kennedy explained.\u003c/p>\n\u003cp>This week’s strike comes after years of turmoil between CCA’s Local 1021 union and administrators at the negotiating table. Since the staff \u003ca href=\"https://www.kqed.org/arts/13855650/california-college-of-the-arts-staff-elect-union-by-wide-margin\" rel=\"noopener noreferrer\" target=\"_blank\">voted to unionize in 2019\u003c/a> after \u003ca href=\"https://www.kqed.org/arts/13855321/california-college-of-the-arts-campus-consolidation-spurs-union-effort\" rel=\"noopener noreferrer\" target=\"_blank\">plans to consolidate CCA’s Oakland campus\u003c/a> to San Francisco were announced, the union has been pushing for higher wages, better benefits, a clearer promotion policy, greater job security and more transparency surrounding the college’s finances. The staff union claims that the compensation CCA currently offers the majority of their members is not enough to afford the cost of living and commuting in the Bay Area.\u003c/p>\n\u003cp>“With the wage issue, they frame that as just an unreasonable ask on our part,” Alldredge said, pointing to $60,000 as the salary the union thinks should be the lowest pay at CCA. “Right now we have workers at CCA who make less than $40,000 a year. That’s not something that a person, much less a person with a family, can live on in the Bay Area. It’s just shameful. And it’s something that really feeds into that burn-and-churn culture of the workplace.”\u003c/p>\n\u003cfigure id=\"attachment_13909139\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/010_SanFrancisco_CCAStrike_02082022.jpg\" alt=\"\" width=\"1920\" height=\"1278\" class=\"size-full wp-image-13909139\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/010_SanFrancisco_CCAStrike_02082022.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/010_SanFrancisco_CCAStrike_02082022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/010_SanFrancisco_CCAStrike_02082022-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/010_SanFrancisco_CCAStrike_02082022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/010_SanFrancisco_CCAStrike_02082022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/010_SanFrancisco_CCAStrike_02082022-1536x1022.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Senior Adjunct Professor Melissa Leventon speaks outside of CCA’s San Francisco campus on Feb. 8, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>CCA’s adjunct faculty belong to the same Local 1021 chapter as the staff members, and are currently negotiating their second union contract as a separate bargaining unit. They have their own set action items they’d like to see addressed. \u003c/p>\n\u003cp>Chief among them is the elimination, or at least clarification, of a practice called half-lining, where adjuncts are paid half of their agreed-upon compensation if they don’t reach enrollment thresholds. This process is not new, nor is it unique to CCA, but adjuncts—like MFA design professor Randy Nakamura—said what constitutes a class as under-enrolled is “a moving target” with “no consistent standard.” Nakamura pointed out that fewer students doesn’t necessarily correlate to a significant drop-off in workload for the professor.\u003c/p>\n\u003cp>“It’s the same number of contact hours,” Nakamura told KQED. “There might be a little less grading, but the actual in-class work is essentially the same. It’s definitely not 50% less work.”\u003c/p>\n\u003ch2>Union is hopeful demands will be met\u003c/h2>\n\u003cp>In December 2021, 97% of the union’s voting staff authorized the strike. They cited claims that CCA administrators have intentionally prolonged contract negotiations—and have shown up unprepared to some of these sessions—following a drastic change in working conditions during the pandemic.\u003c/p>\n\u003cp>However, CCA denies allegations that it has dragged its feet during negotiations. According to CCA’s “Collective Bargaining Fact Check” web page, “It has always been the college’s goal to reach an agreement with the union as quickly as possible and return everyone’s energy and focus entirely to our core mission of educating students.”\u003c/p>\n\u003cfigure id=\"attachment_13909140\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/020_SanFrancisco_CCAStrike_02082022.jpg\" alt='Picket signs read \"not cool\" and \"contracts now\" in front of a CCA logo' width=\"1920\" height=\"1278\" class=\"size-full wp-image-13909140\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/020_SanFrancisco_CCAStrike_02082022.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/020_SanFrancisco_CCAStrike_02082022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/020_SanFrancisco_CCAStrike_02082022-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/020_SanFrancisco_CCAStrike_02082022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/020_SanFrancisco_CCAStrike_02082022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/020_SanFrancisco_CCAStrike_02082022-1536x1022.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Staff, faculty and students at CCA rally outside of the San Francisco campus on Feb. 8, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The same CCA spokesperson also told KQED in an email that “CCA remains ready and willing to negotiate as frequently as needed to achieve a fair and mutually beneficial collective bargaining agreement with our unionized staff. The college has a comprehensive proposal on the table that provides wage increases for our valued staff while also maintaining our ongoing commitment to student financial aid and a financially sustainable future for the college.” \u003c/p>\n\u003cp>Some ranked faculty members agree with the staff’s characterization of the process. Ninety-nine tenure and tenure-track faculty \u003ca href=\"https://static1.squarespace.com/static/6180703413682d648c9d96af/t/62017d1cd329f20b3d977a59/1644264732985/2022+02+07+-+Letter+from+CCA+Ranked+Faculty.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">wrote a letter\u003c/a> to CCA President Stephen Beal and Provost Tammy Rae Carland urging them to settle a fair contract with staff on Feb. 7, saying they “believe that two years is long enough to wait for a contract.”\u003c/p>\n\u003cp>According to multiple sources familiar with the bargaining process at CCA, the strike announcement has worked to move negotiations out of gridlock, though a comprehensive resolution has yet to be reached.\u003c/p>\n\u003cp>Still, union members remain hopeful that their demands will be met eventually.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“We’re a brand-new union and going on strike to get your first contract isn’t something that normally happens. So this is a really powerful and transformative thing that we’re taking part in,” Kennedy, the union president, said. “I think that it’s really not just going to change things at CCA, but I think it’s going to change how a lot of workers think about their jobs and their working conditions in relation to their living conditions.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Tuesday morning, a call and response of “What do we want?” “Contracts!” “When do we want it?” “Now!” could be heard in front of the California College of the Arts (CCA) San Francisco campus in Potrero Hill. \u003c/p>\n\u003cp>Those chants came from hundreds of staff members, adjunct faculty and students at the college who were taking part in the Feb. 8 strike, but the atmosphere was more akin to that of a midday fiesta with maracas shaking and music playing. A banner read: “Labor justice is social justice. CCA staff & adjuncts deserve fair contracts now!” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>CCA staff are striking over what they claim to be unfair labor practices at the college amid ongoing collective bargaining agreement negotiations. Participants say this represents the first strike at a private arts college in the U.S. since 2012 and the first strike at a private college in California since a 1976 strike at Pepperdine University.\u003c/p>\n\u003cp>CCA’s chapter of the Service Employees International Union (SEIU) Local 1021 alleges that the college breached labor laws when, without first securing the permission of union representatives, it eliminated the positions of multiple employees who were seeking to come back from a pandemic-induced furlough, offering them different roles—and in at least one instance, lower pay. The union also claims that CCA created multiple seasonal job positions without its blessing. \u003c/p>\n\u003cp>However, in a statement on its website, \u003ca href=\"https://portal.cca.edu/working/office-human-resources/staff-union-updates/collective-bargaining-fact-check/\" rel=\"noopener noreferrer\" target=\"_blank\">the college said\u003c/a> it gave the union proper notice of these changes and that these allegations “are without merit.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The strike is planned to continue on the San Francisco campus through Feb. 11, with the exception of a Feb. 9 demonstration, which will take place on the school’s Oakland campus. Many of the college’s adjunct faculty, tenure or tenure-track faculty, and students are also participating in a sympathy strike. This means a significant amount of the student body will be missing out on classes this week, a scenario CCA administration points to as detrimental for all parties involved.\u003c/p>\n\u003cp>“At a time when we are making rapid progress in negotiations and have reached agreement on so many items, a strike benefits no one—not our staff, not our faculty, and certainly not our students, who have just returned to fully in-person classes for the first time in nearly two years,” a CCA spokesperson wrote in an email to KQED. “The college has called on the union to show respect for the process and continue our progress by coming back to the negotiating table. Our goal is to work together to reach an agreement as quickly as possible and return everyone’s full energy and focus to our core mission of educating students.”\u003c/p>\n\u003cfigure id=\"attachment_13909137\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/018_SanFrancisco_CCAStrike_02082022.jpg\" alt=\"Woman pulls squeegee over screen to make print\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13909137\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/018_SanFrancisco_CCAStrike_02082022.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/018_SanFrancisco_CCAStrike_02082022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/018_SanFrancisco_CCAStrike_02082022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/018_SanFrancisco_CCAStrike_02082022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/018_SanFrancisco_CCAStrike_02082022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/018_SanFrancisco_CCAStrike_02082022-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Architecture student Leyla Dualeh works with a member of the San Francisco Poster Syndicate to make a poster for the CCA staff strike at the San Francisco campus on Feb. 8, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Students speak out in support of the strike\u003c/h2>\n\u003cp>Piper Alldredge, who has worked for four years as a studio manager at the San Francisco campus, called the assertion that the strike is bad for students “a slap in the face” to employees who stuck with CCA during the pandemic.\u003c/p>\n\u003cp>“What about when you furloughed the people who work directly with students? The people who are supporting them every single day in so many different ways that are directly tied to our job descriptions, but also not,” she said in an interview with KQED.\u003c/p>\n\u003cp>Zoë Segura, a junior sculpture major at CCA, attended the strike and helped fellow students create a cardboard recreation of \u003ca href=\"https://en.wikipedia.org/wiki/Tatlin%27s_Tower\" rel=\"noopener noreferrer\" target=\"_blank\">Tatlin’s Tower\u003c/a>—a symbol of communism and the Bolshevik Revolution—to represent that “institutions will fall without labor.” Segura said that the administration’s claim that the strike is bad for students is not reflective of the views of the majority of the student body. \u003c/p>\n\u003cp>“I’ve seen a lot of my peers out here, and I’m very proud of that. I think the general consensus is that we’re all fed up and think that everyone deserves more than they’re getting from CCA,” she said.\u003c/p>\n\u003cp>In September 2021, a regional office of the National Labor Relations Board (NLRB), which enforces U.S. labor law, charged that \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/NLRB_CPT.32-CA-278831.Complaint-and-Notice-of-Hearing-9-27-2152.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">CCA had committed unfair labor practices\u003c/a> and that the college must “bargain in good faith with the Union, on request, within 15 days of a Board Order, not less than twice a week, at least six hour per session, until an agreement or bona fide impasse is reached.” \u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/CCA_Answer.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">CCA responded in October\u003c/a> by denying the NLRB regional office’s request for remedy, instead, exercising their right to a hearing before a judge. \u003c/p>\n\u003cfigure id=\"attachment_13909138\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/024_SanFrancisco_CCAStrike_02082022.jpg\" alt=\"The back of a man with megaphone as he faces a large crowd of strikers\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13909138\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/024_SanFrancisco_CCAStrike_02082022.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/024_SanFrancisco_CCAStrike_02082022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/024_SanFrancisco_CCAStrike_02082022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/024_SanFrancisco_CCAStrike_02082022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/024_SanFrancisco_CCAStrike_02082022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/024_SanFrancisco_CCAStrike_02082022-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Staff, faculty and students at CCA march outside of the San Francisco campus on Feb. 8, 2022, during a staff strike over claims of unfair labor practices. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>CCA employees demand a living wage\u003c/h2>\n\u003cp>Matt Kennedy, CCA’s Local 1021 union president, was one of the employees who said he was offered a minimized role with less pay as a condition of coming back from furlough. Kennedy, who has worked in CCA’s technology department for 10 years, said the financial strain of his 18-month furlough and subsequent demotion was especially difficult because he had a child during the pandemic. \u003c/p>\n\u003cp>Kennedy said he was “one of the very last people to get called back to work,” and added that he feels his demotion and pay cut were “retaliation for my activity with the union.”\u003c/p>\n\u003cp>Despite this, Kennedy returned to CCA.\u003c/p>\n\u003cp>“I want to see us get our first contract, I want to see it really start to improve the lives of our workers,” Kennedy explained.\u003c/p>\n\u003cp>This week’s strike comes after years of turmoil between CCA’s Local 1021 union and administrators at the negotiating table. Since the staff \u003ca href=\"https://www.kqed.org/arts/13855650/california-college-of-the-arts-staff-elect-union-by-wide-margin\" rel=\"noopener noreferrer\" target=\"_blank\">voted to unionize in 2019\u003c/a> after \u003ca href=\"https://www.kqed.org/arts/13855321/california-college-of-the-arts-campus-consolidation-spurs-union-effort\" rel=\"noopener noreferrer\" target=\"_blank\">plans to consolidate CCA’s Oakland campus\u003c/a> to San Francisco were announced, the union has been pushing for higher wages, better benefits, a clearer promotion policy, greater job security and more transparency surrounding the college’s finances. The staff union claims that the compensation CCA currently offers the majority of their members is not enough to afford the cost of living and commuting in the Bay Area.\u003c/p>\n\u003cp>“With the wage issue, they frame that as just an unreasonable ask on our part,” Alldredge said, pointing to $60,000 as the salary the union thinks should be the lowest pay at CCA. “Right now we have workers at CCA who make less than $40,000 a year. That’s not something that a person, much less a person with a family, can live on in the Bay Area. It’s just shameful. And it’s something that really feeds into that burn-and-churn culture of the workplace.”\u003c/p>\n\u003cfigure id=\"attachment_13909139\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/010_SanFrancisco_CCAStrike_02082022.jpg\" alt=\"\" width=\"1920\" height=\"1278\" class=\"size-full wp-image-13909139\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/010_SanFrancisco_CCAStrike_02082022.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/010_SanFrancisco_CCAStrike_02082022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/010_SanFrancisco_CCAStrike_02082022-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/010_SanFrancisco_CCAStrike_02082022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/010_SanFrancisco_CCAStrike_02082022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/010_SanFrancisco_CCAStrike_02082022-1536x1022.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Senior Adjunct Professor Melissa Leventon speaks outside of CCA’s San Francisco campus on Feb. 8, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>CCA’s adjunct faculty belong to the same Local 1021 chapter as the staff members, and are currently negotiating their second union contract as a separate bargaining unit. They have their own set action items they’d like to see addressed. \u003c/p>\n\u003cp>Chief among them is the elimination, or at least clarification, of a practice called half-lining, where adjuncts are paid half of their agreed-upon compensation if they don’t reach enrollment thresholds. This process is not new, nor is it unique to CCA, but adjuncts—like MFA design professor Randy Nakamura—said what constitutes a class as under-enrolled is “a moving target” with “no consistent standard.” Nakamura pointed out that fewer students doesn’t necessarily correlate to a significant drop-off in workload for the professor.\u003c/p>\n\u003cp>“It’s the same number of contact hours,” Nakamura told KQED. “There might be a little less grading, but the actual in-class work is essentially the same. It’s definitely not 50% less work.”\u003c/p>\n\u003ch2>Union is hopeful demands will be met\u003c/h2>\n\u003cp>In December 2021, 97% of the union’s voting staff authorized the strike. They cited claims that CCA administrators have intentionally prolonged contract negotiations—and have shown up unprepared to some of these sessions—following a drastic change in working conditions during the pandemic.\u003c/p>\n\u003cp>However, CCA denies allegations that it has dragged its feet during negotiations. According to CCA’s “Collective Bargaining Fact Check” web page, “It has always been the college’s goal to reach an agreement with the union as quickly as possible and return everyone’s energy and focus entirely to our core mission of educating students.”\u003c/p>\n\u003cfigure id=\"attachment_13909140\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/020_SanFrancisco_CCAStrike_02082022.jpg\" alt='Picket signs read \"not cool\" and \"contracts now\" in front of a CCA logo' width=\"1920\" height=\"1278\" class=\"size-full wp-image-13909140\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/020_SanFrancisco_CCAStrike_02082022.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/020_SanFrancisco_CCAStrike_02082022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/020_SanFrancisco_CCAStrike_02082022-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/020_SanFrancisco_CCAStrike_02082022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/020_SanFrancisco_CCAStrike_02082022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/020_SanFrancisco_CCAStrike_02082022-1536x1022.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Staff, faculty and students at CCA rally outside of the San Francisco campus on Feb. 8, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The same CCA spokesperson also told KQED in an email that “CCA remains ready and willing to negotiate as frequently as needed to achieve a fair and mutually beneficial collective bargaining agreement with our unionized staff. The college has a comprehensive proposal on the table that provides wage increases for our valued staff while also maintaining our ongoing commitment to student financial aid and a financially sustainable future for the college.” \u003c/p>\n\u003cp>Some ranked faculty members agree with the staff’s characterization of the process. Ninety-nine tenure and tenure-track faculty \u003ca href=\"https://static1.squarespace.com/static/6180703413682d648c9d96af/t/62017d1cd329f20b3d977a59/1644264732985/2022+02+07+-+Letter+from+CCA+Ranked+Faculty.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">wrote a letter\u003c/a> to CCA President Stephen Beal and Provost Tammy Rae Carland urging them to settle a fair contract with staff on Feb. 7, saying they “believe that two years is long enough to wait for a contract.”\u003c/p>\n\u003cp>According to multiple sources familiar with the bargaining process at CCA, the strike announcement has worked to move negotiations out of gridlock, though a comprehensive resolution has yet to be reached.\u003c/p>\n\u003cp>Still, union members remain hopeful that their demands will be met eventually.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We’re a brand-new union and going on strike to get your first contract isn’t something that normally happens. So this is a really powerful and transformative thing that we’re taking part in,” Kennedy, the union president, said. “I think that it’s really not just going to change things at CCA, but I think it’s going to change how a lot of workers think about their jobs and their working conditions in relation to their living conditions.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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