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"content": "\u003cp>\u003cem>This story was originally published April 22, 2021 and has been updated. \u003c/em>\u003c/p>\n\u003cp>Even with the economy reopening, artists of all types are still reeling from a year of canceled performances and exhibitions. And though Zoom and Twitch events have allowed them to connect with their communities and attract new, global audiences, presenting online doesn’t feel the same or have the same financial payoff.\u003c/p>\n\u003cp>For artists struggling to meet basic needs, we’ve rounded up a list of grants that are still taking applications. Some are for hundreds of dollars and meant to cover immediate emergencies, while others offer more substantial support. And for those looking to help, many of these funds are accepting donations. [aside postid='arts_13893043']\u003c/p>\n\u003cp>\u003ca href=\"https://actorsfund.org/am-i-eligible-help\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cb>The Actors Fund\u003c/b>\u003c/a>\u003cbr>\nThis fund provides emergency financial support for union and non-union entertainers and performing artists. Individuals with less than $15,000 in savings and couples with less than $30,000 can apply, and documentation is required.\u003c/p>\n\u003cp>\u003ca href=\"https://www.musicalartists.org/membership/agma-relief-fund/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>American Guild for Musical Artists\u003c/strong>\u003c/a>\u003cbr>\nMembers of AGMA can apply for up to $1,000 in assistance for living expenses and medical emergencies. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.artistsfellowship.org/finacial-aid\" target=\"_blank\" rel=\"noopener noreferrer\">The Artists’ Fellowship\u003c/a>\u003c/b>\u003cbr>\nVisual artists who can provide documentation that they make a living through their art can apply to Artists’ Fellowship grants for financial emergencies. Applications are reviewed at the beginning of every month except for July and August.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSfv4AazvLFVUNAgXoxqBqfZ7jJVkrMroa-CET6Vt6XygR-CaQ/viewform?fbclid=IwAR1FCphhtIxizNFaNoaT5lDICJDVaJtlZVXxAYOBCus8zzMb4MZ3dEcScPQ&fbzx=-8989869453552796740\" target=\"_blank\" rel=\"noopener noreferrer\">Arts and Culture Leaders of Color Emergency Funds\u003c/a>\u003c/b>\u003cbr>\nThese are microgrants of $200 for artists and arts administrators who are people of color. Applications reopen in 2022. [aside postid='arts_13883181']\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://authorsleaguefund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Authors League Fund\u003c/a>\u003c/b>\u003cbr>\nThis fund provides financial support for authors, journalists, critics, poets and other writers who’ve lost income because of the pandemic. Older people and people with medical issues are given priority.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://blues.org/hart-fund/#about\" target=\"_blank\" rel=\"noopener noreferrer\">The Blues Foundation HART Fund\u003c/a>\u003c/strong>\u003cbr>\nThe HART Fund offers financial assistance for health-related expenses, and blues musicians can call or email directly to apply.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.californiajazzfoundation.org/assistance-for-musicians\" target=\"_blank\" rel=\"noopener noreferrer\">California Jazz Foundation\u003c/a>\u003cbr>\n\u003c/b>California jazz musicians with five or more years in the industry can apply to have specific bills and expenses covered. Financial documentation is required, and applicants must call or email directly to apply.\u003c/p>\n\u003cp>\u003ca href=\"https://cerfplus.org/get-relief/apply-for-help/craft-emergency-relief-fund/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>CERF+ Emergency Assistance\u003c/strong>\u003c/a>\u003cbr>\nArtists working in glass, clay, metal, wood and other craft mediums can apply for financial aid for COVID-19-related medical expenses.\u003c/p>\n\u003cp>\u003ca href=\"https://dgf.org/emergency-grants/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Dramaturgists Guild Foundation Grant\u003c/strong>\u003c/a>\u003cbr>\nPlaywrights, librettists and other writers in the world of theater can apply for emergency assistance for basic living expenses.\u003c/p>\n\u003cp>\u003ca href=\"https://www.foundationforcontemporaryarts.org/grants/covid-19-bridge-fund/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Foundation for Contemporary Arts\u003c/strong>\u003c/a>\u003cbr>\nArtists who’ve had exhibitions and performances canceled can apply for $1,500 grants, but a referral from a previous grant recipient is required.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.grammy.com/musicares/get-help/relief-resources\" target=\"_blank\" rel=\"noopener noreferrer\">MusiCares COVID-19 Relief Fund\u003c/a>\u003c/strong>\u003cbr>\nThe Recording Academy’s MusiCares fund assists musicians and industry professionals, and prioritizes those experiencing medical, dental, mental health, insurance, substance abuse or eviction emergencies.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://nama.media/covid-19-relief-fund/\" target=\"_blank\" rel=\"noopener noreferrer\">Native Americans in Entertainment COVID Relief Fund\u003c/a>\u003c/strong>\u003cbr>\nThese grants of $2,000 are available to Native American writers, actors, directors and other entertainment industry professionals who’ve lost work during the pandemic. The funds can be used to cover medical care, moving expenses, childcare, groceries, rent, utilities and more. [aside postid='arts_13894499']\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sweetrelief.org/covid-19-fund.html\" target=\"_blank\" rel=\"noopener noreferrer\">Sweet Relief Fund\u003c/a>\u003c/strong>\u003cbr>\nMusicians and music workers can apply for emergency grants for medical and living expenses, and Sweet Relief offers a toolkit to help you fundraise for yourself and your community. Residents of the Bay Area and New Orleans are eligible for grants of up to $1,000 and are encouraged to apply by Oct. 31, 2021.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://zff.org/ca-covid-response-grants/\" target=\"_blank\" rel=\"noopener noreferrer\">Zellerbach Family Foundation COVID Response Grant\u003c/a>\u003c/strong>\u003cbr>\nThe Zellerbach Foundation is awarding grants of $5,000, $10,000 and $15,000 to artists in Alameda, Contra Costa and San Francisco counties who either need financial aid for pandemic income loss or support around recovery and reopening. The next application cycle is Dec. 6–20, 2021.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story was originally published April 22, 2021 and has been updated. \u003c/em>\u003c/p>\n\u003cp>Even with the economy reopening, artists of all types are still reeling from a year of canceled performances and exhibitions. And though Zoom and Twitch events have allowed them to connect with their communities and attract new, global audiences, presenting online doesn’t feel the same or have the same financial payoff.\u003c/p>\n\u003cp>For artists struggling to meet basic needs, we’ve rounded up a list of grants that are still taking applications. Some are for hundreds of dollars and meant to cover immediate emergencies, while others offer more substantial support. And for those looking to help, many of these funds are accepting donations. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://actorsfund.org/am-i-eligible-help\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cb>The Actors Fund\u003c/b>\u003c/a>\u003cbr>\nThis fund provides emergency financial support for union and non-union entertainers and performing artists. Individuals with less than $15,000 in savings and couples with less than $30,000 can apply, and documentation is required.\u003c/p>\n\u003cp>\u003ca href=\"https://www.musicalartists.org/membership/agma-relief-fund/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>American Guild for Musical Artists\u003c/strong>\u003c/a>\u003cbr>\nMembers of AGMA can apply for up to $1,000 in assistance for living expenses and medical emergencies. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.artistsfellowship.org/finacial-aid\" target=\"_blank\" rel=\"noopener noreferrer\">The Artists’ Fellowship\u003c/a>\u003c/b>\u003cbr>\nVisual artists who can provide documentation that they make a living through their art can apply to Artists’ Fellowship grants for financial emergencies. Applications are reviewed at the beginning of every month except for July and August.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSfv4AazvLFVUNAgXoxqBqfZ7jJVkrMroa-CET6Vt6XygR-CaQ/viewform?fbclid=IwAR1FCphhtIxizNFaNoaT5lDICJDVaJtlZVXxAYOBCus8zzMb4MZ3dEcScPQ&fbzx=-8989869453552796740\" target=\"_blank\" rel=\"noopener noreferrer\">Arts and Culture Leaders of Color Emergency Funds\u003c/a>\u003c/b>\u003cbr>\nThese are microgrants of $200 for artists and arts administrators who are people of color. Applications reopen in 2022. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://authorsleaguefund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Authors League Fund\u003c/a>\u003c/b>\u003cbr>\nThis fund provides financial support for authors, journalists, critics, poets and other writers who’ve lost income because of the pandemic. Older people and people with medical issues are given priority.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://blues.org/hart-fund/#about\" target=\"_blank\" rel=\"noopener noreferrer\">The Blues Foundation HART Fund\u003c/a>\u003c/strong>\u003cbr>\nThe HART Fund offers financial assistance for health-related expenses, and blues musicians can call or email directly to apply.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.californiajazzfoundation.org/assistance-for-musicians\" target=\"_blank\" rel=\"noopener noreferrer\">California Jazz Foundation\u003c/a>\u003cbr>\n\u003c/b>California jazz musicians with five or more years in the industry can apply to have specific bills and expenses covered. Financial documentation is required, and applicants must call or email directly to apply.\u003c/p>\n\u003cp>\u003ca href=\"https://cerfplus.org/get-relief/apply-for-help/craft-emergency-relief-fund/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>CERF+ Emergency Assistance\u003c/strong>\u003c/a>\u003cbr>\nArtists working in glass, clay, metal, wood and other craft mediums can apply for financial aid for COVID-19-related medical expenses.\u003c/p>\n\u003cp>\u003ca href=\"https://dgf.org/emergency-grants/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Dramaturgists Guild Foundation Grant\u003c/strong>\u003c/a>\u003cbr>\nPlaywrights, librettists and other writers in the world of theater can apply for emergency assistance for basic living expenses.\u003c/p>\n\u003cp>\u003ca href=\"https://www.foundationforcontemporaryarts.org/grants/covid-19-bridge-fund/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Foundation for Contemporary Arts\u003c/strong>\u003c/a>\u003cbr>\nArtists who’ve had exhibitions and performances canceled can apply for $1,500 grants, but a referral from a previous grant recipient is required.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.grammy.com/musicares/get-help/relief-resources\" target=\"_blank\" rel=\"noopener noreferrer\">MusiCares COVID-19 Relief Fund\u003c/a>\u003c/strong>\u003cbr>\nThe Recording Academy’s MusiCares fund assists musicians and industry professionals, and prioritizes those experiencing medical, dental, mental health, insurance, substance abuse or eviction emergencies.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://nama.media/covid-19-relief-fund/\" target=\"_blank\" rel=\"noopener noreferrer\">Native Americans in Entertainment COVID Relief Fund\u003c/a>\u003c/strong>\u003cbr>\nThese grants of $2,000 are available to Native American writers, actors, directors and other entertainment industry professionals who’ve lost work during the pandemic. The funds can be used to cover medical care, moving expenses, childcare, groceries, rent, utilities and more. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.sweetrelief.org/covid-19-fund.html\" target=\"_blank\" rel=\"noopener noreferrer\">Sweet Relief Fund\u003c/a>\u003c/strong>\u003cbr>\nMusicians and music workers can apply for emergency grants for medical and living expenses, and Sweet Relief offers a toolkit to help you fundraise for yourself and your community. Residents of the Bay Area and New Orleans are eligible for grants of up to $1,000 and are encouraged to apply by Oct. 31, 2021.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://zff.org/ca-covid-response-grants/\" target=\"_blank\" rel=\"noopener noreferrer\">Zellerbach Family Foundation COVID Response Grant\u003c/a>\u003c/strong>\u003cbr>\nThe Zellerbach Foundation is awarding grants of $5,000, $10,000 and $15,000 to artists in Alameda, Contra Costa and San Francisco counties who either need financial aid for pandemic income loss or support around recovery and reopening. The next application cycle is Dec. 6–20, 2021.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Throughout the first year of the pandemic, arts organizations emphasized just how crucial they are to local culture and economy in pleas for government help. After all, a night out at a concert, gallery or play often leads to other spending on food, drinks and retail, and brings the kinds of foot traffic that turns neighborhoods into destinations. And deeper than that, art spaces, music venues, theaters and cultural centers can foster a sense of belonging and strengthen their communities.\u003c/p>\n\u003cp>To support San Francisco’s recovery from pandemic shutdowns, Mayor London Breed announced on Monday $12 million dollars in funding for arts groups. Doled out in amounts ranging from $9,000 to $450,000, the new round of \u003ca href=\"https://sfgfta.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Grants for the Arts\u003c/a> supports large institutions such as the San Francisco Symphony and San Francisco Museum of Modern Art, as well as a long list of smaller organizations. Among those are after-school program \u003ca href=\"https://www.kqed.org/arts/13865613/sealed-for-10-years-an-excelsior-butcher-shop-becomes-a-vibrant-teen-art-space\" target=\"_blank\" rel=\"noopener noreferrer\">Youth Art Exchange\u003c/a>, transgender dance company \u003ca href=\"https://freshmeatproductions.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Meat Productions\u003c/a>, Latinx arts and community space \u003ca href=\"http://www.galeriadelaraza.org/eng/about/index.php\" target=\"_blank\" rel=\"noopener noreferrer\">Galería de la Raza\u003c/a> and Filipino American theater company \u003ca href=\"https://www.bindlestiffstudio.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Bindlestiff Studio\u003c/a>. There are \u003ca href=\"https://sfgfta.org/wp-content/uploads/2021/09/FY-22-Funding-Amounts.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">250 recipients in total\u003c/a>. [aside postid='arts_13902006']\u003c/p>\n\u003cp>Vallie Brown, who took the helm of Grants for the Arts in February of this year, says grassroots organizations that support trans people and people of color were prioritized because of how they stepped up to serve vulnerable San Franciscans during the crisis. “We felt they had a priority because they’re so connected into communities,” she explains. “I think we realized that during COVID because a lot of these arts organizations and cultural centers became hubs for communities, whether that was testing, vaccinations, food banks. … We realized they are really boots on the ground doing a lot of this work.”\u003c/p>\n\u003cp>Arts grants in San Francisco have been funded by the hotel tax since 2018, but because of a drop-off in tourism during the pandemic, Breed allocated money from the general fund to support Grants for the Arts, the mayor’s office announced in Monday’s press release.\u003c/p>\n\u003cp>Still, the program had about $2 million less to work with than in previous years. That meant that some larger organizations, including SF Opera and American Conservatory Theater, got less money this year so that smaller groups wouldn’t have to take losses.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Because of their large budget, we knew they had the resources to probably fundraise for the rest of that money,” says Brown, noting that this year Grants for the Arts used a new scoring system that accounted for diversity, neighborhood partnerships and hiring of local artists.\u003c/p>\n\u003cp>Out of the $12 million fund, about $1 million went to supporting parades and festivals, including San Francisco Pride, the Juneteenth Festival and the Russian Festival. Grants for the Arts kept funding amounts for each of those recipients the same as last year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Parades and festivals in the city are really community-driven, and they’re usually run by one or two people or a small committee,” says Brown. “They would not be able to survive a cut.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Throughout the first year of the pandemic, arts organizations emphasized just how crucial they are to local culture and economy in pleas for government help. After all, a night out at a concert, gallery or play often leads to other spending on food, drinks and retail, and brings the kinds of foot traffic that turns neighborhoods into destinations. And deeper than that, art spaces, music venues, theaters and cultural centers can foster a sense of belonging and strengthen their communities.\u003c/p>\n\u003cp>To support San Francisco’s recovery from pandemic shutdowns, Mayor London Breed announced on Monday $12 million dollars in funding for arts groups. Doled out in amounts ranging from $9,000 to $450,000, the new round of \u003ca href=\"https://sfgfta.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Grants for the Arts\u003c/a> supports large institutions such as the San Francisco Symphony and San Francisco Museum of Modern Art, as well as a long list of smaller organizations. Among those are after-school program \u003ca href=\"https://www.kqed.org/arts/13865613/sealed-for-10-years-an-excelsior-butcher-shop-becomes-a-vibrant-teen-art-space\" target=\"_blank\" rel=\"noopener noreferrer\">Youth Art Exchange\u003c/a>, transgender dance company \u003ca href=\"https://freshmeatproductions.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Meat Productions\u003c/a>, Latinx arts and community space \u003ca href=\"http://www.galeriadelaraza.org/eng/about/index.php\" target=\"_blank\" rel=\"noopener noreferrer\">Galería de la Raza\u003c/a> and Filipino American theater company \u003ca href=\"https://www.bindlestiffstudio.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Bindlestiff Studio\u003c/a>. There are \u003ca href=\"https://sfgfta.org/wp-content/uploads/2021/09/FY-22-Funding-Amounts.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">250 recipients in total\u003c/a>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Vallie Brown, who took the helm of Grants for the Arts in February of this year, says grassroots organizations that support trans people and people of color were prioritized because of how they stepped up to serve vulnerable San Franciscans during the crisis. “We felt they had a priority because they’re so connected into communities,” she explains. “I think we realized that during COVID because a lot of these arts organizations and cultural centers became hubs for communities, whether that was testing, vaccinations, food banks. … We realized they are really boots on the ground doing a lot of this work.”\u003c/p>\n\u003cp>Arts grants in San Francisco have been funded by the hotel tax since 2018, but because of a drop-off in tourism during the pandemic, Breed allocated money from the general fund to support Grants for the Arts, the mayor’s office announced in Monday’s press release.\u003c/p>\n\u003cp>Still, the program had about $2 million less to work with than in previous years. That meant that some larger organizations, including SF Opera and American Conservatory Theater, got less money this year so that smaller groups wouldn’t have to take losses.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Because of their large budget, we knew they had the resources to probably fundraise for the rest of that money,” says Brown, noting that this year Grants for the Arts used a new scoring system that accounted for diversity, neighborhood partnerships and hiring of local artists.\u003c/p>\n\u003cp>Out of the $12 million fund, about $1 million went to supporting parades and festivals, including San Francisco Pride, the Juneteenth Festival and the Russian Festival. Grants for the Arts kept funding amounts for each of those recipients the same as last year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Parades and festivals in the city are really community-driven, and they’re usually run by one or two people or a small committee,” says Brown. “They would not be able to survive a cut.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "black-panther-party-55th-anniversary-oakland",
"title": "A Full Month of Events for the Black Panther Party's 55th Anniversary",
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"headTitle": "A Full Month of Events for the Black Panther Party’s 55th Anniversary | KQED",
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"content": "\u003cp>This October marks 55 years since Dr. Huey P. Newton and Bobby Seale co-founded the revolutionary organization known as the Black Panther Party for Self-Defense.\u003c/p>\n\u003cp>In honor of the organization’s contributions to societal change through community activism, \u003ca href=\"https://www.bpp55thyearcelebration.com/\" target=\"_blank\" rel=\"noopener noreferrer\">multiple events\u003c/a> are scheduled throughout the month. The itinerary includes visual arts, social gatherings, live performances and the unveiling of a Dr. Huey P. Newtown bust.\u003c/p>\n\u003cp>The first event, on Friday, Oct. 1, at Oakland’s Joyce Gordon Art Gallery, is the \u003ca href=\"https://www.facebook.com/JoyceGordonGallery/posts/4846888492008400\" target=\"_blank\" rel=\"noopener noreferrer\">opening of a visual art exhibition\u003c/a> featuring the works of Emory Douglas, M. Gayle “Asali” Dickson, Malik Edwards and REFA 1. The four artists are also scheduled for a panel discussion on Oct. 9.\u003c/p>\n\u003cfigure id=\"attachment_13903866\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903866\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/0-3-800x538.jpg\" alt=\"People gathered for the 30th anniversary of the founding of the Black Panther Party.\" width=\"800\" height=\"538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0-3-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0-3-1020x686.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0-3-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0-3-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0-3-1536x1033.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0-3.jpg 1746w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A 1996 gathering to mark the 30th anniversary of the founding of the Black Panther Party. \u003ccite>(It's About Time Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Billy X Jennings, Black Panther Party archivist, will also display photos and artwork from his collection. Jennings says attendees can expect to see “historical artwork, as well as artwork from artists who did work in the ’70s, and what they’ve done since that time.” Jennings adds: “Keep in mind a lot of them were artists when they were 18 to 20 years old. This exhibition will show how they’ve grown since then.”\u003c/p>\n\u003cp>The growth of the members of the Party, as well as the evolution of the Party’s principles showing up in popular culture and politics, is a theme in many of the events scheduled throughout Panther History Month.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Thursday, Oct. 21, the New Parkway Theatre will host a Black Panther Party-centric film festival. Among other films and clips, the schedule includes a newly recorded speech from Pete O’Neal, the exiled former chairman of the Kansas City Chapter of the Black Panther Party.\u003c/p>\n\u003cfigure id=\"attachment_13903865\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903865\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/0-1-800x730.jpg\" alt=\"Charlotte Hill O'Neal wears sunglasses as she poses, showing her forearm tattoos and jewelry as she stands in front of the Alameda County Court House. \" width=\"800\" height=\"730\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0-1-800x730.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0-1-1020x931.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0-1-160x146.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0-1-768x701.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0-1-1536x1401.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0-1.jpg 1564w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Charlotte Hill O’Neal in front of the Alameda County Court House. \u003ccite>(It's About Time Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Friday, Oct. 22, North Oakland’s It’s All Good Bakery, located at the site of the first Black Panther Party office, will install a plaque to commemorate the historic grounds. Replacing an earlier sign, the new plaque will have a virtual reality component allowing viewers to become more deeply immersed in the story of the Black Panther Party.\u003c/p>\n\u003cp>[aside postID='arts_13884294,arts_13902383']\u003c/p>\n\u003cp>On Saturday, Oct. 23, Black Panther Party alumni and community members will gather at Bobby Hutton Park (also known as DeFremery Park) for the month’s centerpiece celebration. Starting the day’s events will be Black Panther leader and co-founder of Tanzania’s United African Alliance Community Center, Charlotte Hill O’Neal, who will preside over a healing circle where the names of ancestors and the stories of fallen comrades will be acknowledged.\u003c/p>\n\u003cp>The healing circle will be followed by a series of speakers, including former head of the Black Panther Party’s school Ericka Huggins and radio host and author Rickey Vincent. Across the street from the park at the West Oakland Library, a walk-through exhibit will feature archival photos of the Black Panther Party.\u003c/p>\n\u003cp>https://www.instagram.com/p/CO81sx6htMa/\u003c/p>\n\u003cp>The month-long celebration concludes on Sunday, Oct. 24, when the \u003ca href=\"https://hueypnewtonfoundation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Dr. Huey P. Newton Foundation\u003c/a> will unveil a new bust made in the image of Dr. Huey P. Newton. The sculpture, created by artist Dana King, will be located on the corner of Mandela Parkway and 9th Street—or, as it has recently been renamed, Dr. Huey P. Newtown Way.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A full \u003ca href=\"https://www.bpp55thyearcelebration.com/\" target=\"_blank\" rel=\"noopener noreferrer\">schedule for the Black Panther Party’s 55th Anniversary\u003c/a> can be found \u003ca href=\"https://www.bpp55thyearcelebration.com/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This October marks 55 years since Dr. Huey P. Newton and Bobby Seale co-founded the revolutionary organization known as the Black Panther Party for Self-Defense.\u003c/p>\n\u003cp>In honor of the organization’s contributions to societal change through community activism, \u003ca href=\"https://www.bpp55thyearcelebration.com/\" target=\"_blank\" rel=\"noopener noreferrer\">multiple events\u003c/a> are scheduled throughout the month. The itinerary includes visual arts, social gatherings, live performances and the unveiling of a Dr. Huey P. Newtown bust.\u003c/p>\n\u003cp>The first event, on Friday, Oct. 1, at Oakland’s Joyce Gordon Art Gallery, is the \u003ca href=\"https://www.facebook.com/JoyceGordonGallery/posts/4846888492008400\" target=\"_blank\" rel=\"noopener noreferrer\">opening of a visual art exhibition\u003c/a> featuring the works of Emory Douglas, M. Gayle “Asali” Dickson, Malik Edwards and REFA 1. The four artists are also scheduled for a panel discussion on Oct. 9.\u003c/p>\n\u003cfigure id=\"attachment_13903866\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903866\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/0-3-800x538.jpg\" alt=\"People gathered for the 30th anniversary of the founding of the Black Panther Party.\" width=\"800\" height=\"538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0-3-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0-3-1020x686.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0-3-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0-3-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0-3-1536x1033.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0-3.jpg 1746w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A 1996 gathering to mark the 30th anniversary of the founding of the Black Panther Party. \u003ccite>(It's About Time Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Billy X Jennings, Black Panther Party archivist, will also display photos and artwork from his collection. Jennings says attendees can expect to see “historical artwork, as well as artwork from artists who did work in the ’70s, and what they’ve done since that time.” Jennings adds: “Keep in mind a lot of them were artists when they were 18 to 20 years old. This exhibition will show how they’ve grown since then.”\u003c/p>\n\u003cp>The growth of the members of the Party, as well as the evolution of the Party’s principles showing up in popular culture and politics, is a theme in many of the events scheduled throughout Panther History Month.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Thursday, Oct. 21, the New Parkway Theatre will host a Black Panther Party-centric film festival. Among other films and clips, the schedule includes a newly recorded speech from Pete O’Neal, the exiled former chairman of the Kansas City Chapter of the Black Panther Party.\u003c/p>\n\u003cfigure id=\"attachment_13903865\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903865\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/0-1-800x730.jpg\" alt=\"Charlotte Hill O'Neal wears sunglasses as she poses, showing her forearm tattoos and jewelry as she stands in front of the Alameda County Court House. \" width=\"800\" height=\"730\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0-1-800x730.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0-1-1020x931.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0-1-160x146.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0-1-768x701.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0-1-1536x1401.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0-1.jpg 1564w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Charlotte Hill O’Neal in front of the Alameda County Court House. \u003ccite>(It's About Time Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Friday, Oct. 22, North Oakland’s It’s All Good Bakery, located at the site of the first Black Panther Party office, will install a plaque to commemorate the historic grounds. Replacing an earlier sign, the new plaque will have a virtual reality component allowing viewers to become more deeply immersed in the story of the Black Panther Party.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The month-long celebration concludes on Sunday, Oct. 24, when the \u003ca href=\"https://hueypnewtonfoundation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Dr. Huey P. Newton Foundation\u003c/a> will unveil a new bust made in the image of Dr. Huey P. Newton. The sculpture, created by artist Dana King, will be located on the corner of Mandela Parkway and 9th Street—or, as it has recently been renamed, Dr. Huey P. Newtown Way.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A full \u003ca href=\"https://www.bpp55thyearcelebration.com/\" target=\"_blank\" rel=\"noopener noreferrer\">schedule for the Black Panther Party’s 55th Anniversary\u003c/a> can be found \u003ca href=\"https://www.bpp55thyearcelebration.com/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>After more than\u003ca href=\"https://www.npr.org/2019/01/11/683936629/r-kelly-allegations-an-abridged-history\" target=\"_blank\" rel=\"noopener noreferrer\"> 25 years of accusations\u003c/a> and a New York federal court trial that lasted seven weeks, R&B singer \u003ca href=\"https://www.npr.org/artists/156679430/r-kelly\" target=\"_blank\" rel=\"noopener noreferrer\">R. Kelly\u003c/a> has been found guilty of charges including sexual exploitation of a child, bribery, kidnapping, racketeering and sex trafficking involving six victims. Kelly faces a possible sentence of 10 years to life in prison.\u003c/p>\n\u003cp>Kelly sat absolutely still as the foreperson gave the jury’s verdict to Judge Ann Donnelly.\u003c/p>\n\u003cp>[aside postid='arts_13901400']Federal prosecutors in the Eastern District of New York successfully proved to a jury of seven men and five women that Kelly had been the head of a criminal enterprise, whose purpose was to lure girls, boys and women to the R&B singer for his sexual gratification.\u003c/p>\n\u003cp>On top of awaiting sentencing in this New York case, Kelly will face a second federal trial on charges of child pornography and obstruction of justice in Illinois. Some of those accusations are related to a 2008 child pornography trial in Chicago, in which he was \u003ca href=\"https://www.npr.org/transcripts/91480976\" target=\"_blank\" rel=\"noopener noreferrer\">acquitted of all charges\u003c/a>.\u003c/p>\n\u003cp>Additionally, Kelly faces outstanding criminal charges in both Cook County, Ill., where he was indicted by the state attorney in\u003ca href=\"https://www.npr.org/2019/08/05/748370799/r-kelly-charged-with-two-criminal-counts-in-minnesota\" target=\"_blank\" rel=\"noopener noreferrer\"> Feb. 2019\u003c/a> for aggravated criminal sexual abuse involving four victims (three of them minors), and in Minnesota, where Mr. Kelly was charged in Aug. 2019 with engaging in prostitution with a minor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sentencing in New York is scheduled for May 4.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=R.+Kelly+Found+Guilty+Of+Racketeering+And+Sex+Trafficking&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After more than\u003ca href=\"https://www.npr.org/2019/01/11/683936629/r-kelly-allegations-an-abridged-history\" target=\"_blank\" rel=\"noopener noreferrer\"> 25 years of accusations\u003c/a> and a New York federal court trial that lasted seven weeks, R&B singer \u003ca href=\"https://www.npr.org/artists/156679430/r-kelly\" target=\"_blank\" rel=\"noopener noreferrer\">R. Kelly\u003c/a> has been found guilty of charges including sexual exploitation of a child, bribery, kidnapping, racketeering and sex trafficking involving six victims. Kelly faces a possible sentence of 10 years to life in prison.\u003c/p>\n\u003cp>Kelly sat absolutely still as the foreperson gave the jury’s verdict to Judge Ann Donnelly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Federal prosecutors in the Eastern District of New York successfully proved to a jury of seven men and five women that Kelly had been the head of a criminal enterprise, whose purpose was to lure girls, boys and women to the R&B singer for his sexual gratification.\u003c/p>\n\u003cp>On top of awaiting sentencing in this New York case, Kelly will face a second federal trial on charges of child pornography and obstruction of justice in Illinois. Some of those accusations are related to a 2008 child pornography trial in Chicago, in which he was \u003ca href=\"https://www.npr.org/transcripts/91480976\" target=\"_blank\" rel=\"noopener noreferrer\">acquitted of all charges\u003c/a>.\u003c/p>\n\u003cp>Additionally, Kelly faces outstanding criminal charges in both Cook County, Ill., where he was indicted by the state attorney in\u003ca href=\"https://www.npr.org/2019/08/05/748370799/r-kelly-charged-with-two-criminal-counts-in-minnesota\" target=\"_blank\" rel=\"noopener noreferrer\"> Feb. 2019\u003c/a> for aggravated criminal sexual abuse involving four victims (three of them minors), and in Minnesota, where Mr. Kelly was charged in Aug. 2019 with engaging in prostitution with a minor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=202120220SB628\" target=\"_blank\" rel=\"noopener noreferrer\">statewide bill\u003c/a> seeking to diversify California’s arts and culture workforce and provide jobs that pay a living wage to keep creative sector workers in expensive locales like the Bay Area has landed on the governor’s desk after winning near-unanimous support in the Assembly and Senate.\u003c/p>\n\u003cp>Introduced by \u003ca href=\"https://sd26.senate.ca.gov/\" target=\"_blank\" rel=\"noopener noreferrer\">California Senator Ben Allen\u003c/a> in the spring, the \u003ca href=\"https://static1.squarespace.com/static/5bc6c7a1c46f6d1ef38d6771/t/61253e1fd7ab280c0eaa7719/1629830696673/CFTA_SB628_info.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">California Creative Workforce Act\u003c/a> (SB628) is the first legislation of its kind in the country.\u003c/p>\n\u003cp>“The purpose of the act would be to establish creative arts workforce development as a state priority and to promote employment and ‘earn and learn,’ as defined, job training opportunities for creative workers, among other things,” the bill language states.\u003c/p>\n\u003cp>If Governor Gavin Newsom signs SB628 into law—he has until Oct. 10 to approve or veto it—it could eventually mean more career opportunities for Californians who might otherwise feel excluded from pursuing arts and culture careers because of financial or other constraints, and allow creative sector employers to employ arts professionals and pay them a living wage.\u003c/p>\n\u003cp>“The fact that the California State Assembly and Senate both really see the need for developing our creative artistic workforce, I think it’s fantastic,” says \u003ca href=\"https://mosaicamerica.org/usha-srinivasan/\" target=\"_blank\" rel=\"noopener noreferrer\">Usha Srinivasan\u003c/a>, co-founder and president of \u003ca href=\"https://mosaicamerica.org\" target=\"_blank\" rel=\"noopener noreferrer\">Mosaic America\u003c/a>, a South Bay arts nonprofit that presents inter-cultural events.\u003c/p>\n\u003cfigure id=\"attachment_13903215\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903215\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/RS51481_mosaic-qut-800x570.jpg\" alt=\"\" width=\"800\" height=\"570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RS51481_mosaic-qut-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RS51481_mosaic-qut-1020x727.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RS51481_mosaic-qut-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RS51481_mosaic-qut-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RS51481_mosaic-qut-1536x1095.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RS51481_mosaic-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ensemble Folclórico Colibri, Xpressions, and Hālau Nāpuaokamokihanaoha — some of the groups appearing in the upcoming Mosaic Festival in San Jose. Mosaic America, the small South Bay non-profit which produces the event, says the new legislation would help it provide jobs and training opportunities which it currently cannot afford to do. \u003ccite>(WeSparq.co)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Srinivasan says her small, grassroots arts group relies heavily on a volunteer workforce to produce programming like the upcoming \u003ca href=\"https://mosaicamerica.org/festival/\" target=\"_blank\" rel=\"noopener noreferrer\">Mosaic Festival\u003c/a>, an all-day event on Oct. 2 in San Jose featuring performances, workshops, exhibitions and food from many of the different cultures that make up Silicon Valley.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“W\u003cb>\u003c/b>e don’t have the money as a small community-based nonprofit dealing predominantly in communities of color to be able to hire workers,” Srinivasan says. “So what that legislation potentially could do is help organizations like ours that would love to have people we’re able to pay, as well as people we can train.”\u003c/p>\n\u003ch2>A Sector Under Siege\u003c/h2>\n\u003cp>According to the \u003ca href=\"https://nasaa-arts.org/nasaa_research/creative-economy-state-profiles/\" target=\"_blank\" rel=\"noopener noreferrer\">National Assembly of State Arts Agencies\u003c/a>, California’s creative sector contributes more than $230 billion dollars—or 25%—of the country’s entire creative economy. It represents nearly 8% of the Gross State Product (GSP), and nearly 800,000 jobs.\u003c/p>\n\u003cfigure id=\"attachment_13903218\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903218\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/RS51483_Screen-Shot-2021-09-15-at-17.40.52-qut-800x379.jpg\" alt=\"\" width=\"800\" height=\"379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RS51483_Screen-Shot-2021-09-15-at-17.40.52-qut-800x379.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RS51483_Screen-Shot-2021-09-15-at-17.40.52-qut-1020x483.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RS51483_Screen-Shot-2021-09-15-at-17.40.52-qut-160x76.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RS51483_Screen-Shot-2021-09-15-at-17.40.52-qut-768x364.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RS51483_Screen-Shot-2021-09-15-at-17.40.52-qut-1536x728.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RS51483_Screen-Shot-2021-09-15-at-17.40.52-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Slide from Otis College of Art and Design’s “2020 COVID-19 Economic Impact on the California Creative Economy” study. \u003ccite>(Otis College of Art and Design)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the devastating effects of COVID-19 on the cultural industries have made this new legislation a matter of urgency, say the bill’s proponents. According to a \u003ca href=\"https://www.otis.edu/creative-economy/2021\" target=\"_blank\" rel=\"noopener noreferrer\">recent report\u003c/a> by the \u003ca href=\"https://www.otis.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Otis College of Art and Design\u003c/a>, the pandemic impacted more than 500,000 creative sector jobs around the state in 2020, and caused a creative economy output loss in excess of $140 billion over the year.\u003c/p>\n\u003cp>“We know that COVID-19 has disproportionately affected the creative arts, and this is a way to establish a long-term solution and try to support them with funding,” the bill’s co-author, \u003ca href=\"https://sd22.senate.ca.gov/\" target=\"_blank\" rel=\"noopener noreferrer\">State Senator Susan Rubio\u003c/a>, told KQED.\u003c/p>\n\u003cp>“It’s clear that we’ve got to make sure that that workforce is maintained in this state, and grows, finally getting rid of the ‘starving artist’ paradigm.” says \u003ca href=\"https://www.californiansforthearts.org/staff-board\" target=\"_blank\" rel=\"noopener noreferrer\">Julie Baker\u003c/a>, executive director of \u003ca href=\"https://www.californiansforthearts.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Californians for the Arts\u003c/a> and\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://californiaartsadvocates.org/\" target=\"_blank\" rel=\"noopener noreferrer\"> California Arts Advocates,\u003c/a> the latter of which co-sponsored the bill. “We’ve\u003c/span> also got to make sure the workforce matches who actually is in this state in terms of diversifying the workforce.”\u003c/p>\n\u003ch2>Current and Historic Parallels\u003c/h2>\n\u003cp>The California Creative Workforce Act is novel because there has never before been workforce legislation created at the statewide level specifically targeting the creative sector.\u003c/p>\n\u003cp>But there are other initiatives in process in California and around the country right now seeking to put jobs in artists hands. In May, \u003ca href=\"https://lieu.house.gov/\" target=\"_blank\" rel=\"noopener noreferrer\">California Congressman Ted Lieu\u003c/a> introduced the \u003ca href=\"https://lieu.house.gov/media-center/press-releases/reps-lieu-and-leger-fernandez-introduce-21st-century-federal-writers\" target=\"_blank\" rel=\"noopener noreferrer\">21st Century Federal Writers’ Project\u003c/a>, a federal bill calling for a revamp of the Depression-era program that provided jobs to out-of-work writers. Meanwhile the \u003ca href=\"https://esd.dof.ca.gov/Documents/bcp/2122/FY2122_ORG8260_BCP4748.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">California Creative Corps Pilot Program\u003c/a>, included in Governor Newsom’s California Comeback Plan, provides $60 million in funding to the \u003ca href=\"https://arts.ca.gov/\" target=\"_blank\" rel=\"noopener noreferrer\">California Arts Council\u003c/a> to put artists around the state to work on public health messaging around COVID-19.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"1934: A New Deal for Artists\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/vG4fqOaoRKs?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>SB628 also has roots in two \u003cspan style=\"font-weight: 400\">historic federal initiatives: The Works Progress Administration’s (WPA’s) \u003ca href=\"https://www.loc.gov/rr/program/bib/newdeal/fap.html\" target=\"_blank\" rel=\"noopener noreferrer\">Federal Art Project\u003c/a>, which successfully put thousands of artists to work during the Great Depression, and the lesser known \u003ca href=\"http://ceta-arts.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Comprehensive Employment and Training Act\u003c/a> (CETA), which provided full-time employment and training for more than 10,000 artists and 10,000 arts support staff from 1974-1980.\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.berkeleyrep.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Berkeley Repertory Theater\u003c/a> managing director \u003ca href=\"https://www.berkeleyrep.org/about/who-we-are/\" target=\"_blank\" rel=\"noopener noreferrer\">Susie Medak\u003c/a> says she owes her career in the arts to the training she got as a result of CETA.\u003c/p>\n\u003cp>“Many of us boomers, who began working in the ’60s and early ’70s, we all we all got hired because of the CETA grants,” Medak says. She adds that, early in her career, she was able to hire trainees through the program. “The point was that there was money there to take a gamble on people who had potential or interest and no skill. And the job of the organization was to train them,” Medak says.\u003c/p>\n\u003ch2>Diversifying the Talent Pipeline\u003c/h2>\n\u003cp>With a $20 million annual budget, Berkeley Rep is one of relatively few U.S. non-profit arts organizations to offer its own training program. Medak says the company’s training fellowships have been in effect since 1985, and 30 to 60 percent of the trainees have been from diverse backgrounds over the last 10 years.\u003c/p>\n\u003cp>“\u003cb>\u003c/b>20 to 30 percent of our workforce is people who we trained through that program,” Medak says. “S\u003cb>\u003c/b>o we know that we have we have a training model that works.”\u003c/p>\n\u003cp>She welcomes the new legislation as a pathway for more arts and culture organizations to diversify the talent pipeline. “\u003cb>\u003c/b>This is essential because what we know is one of the biggest barriers to young people of color being able to enter the arts is that entry level positions in this field tend to be very, very poorly compensated,” Medak says. “And so being able to minimize that as a barrier makes it possible for people to imagine that they can do this.”\u003c/p>\n\u003cp>The aspect of SB628 which seeks to earmark grants for creative sector employers to offer paid apprenticeships to Californians from diverse or low socioeconomic backgrounds also speaks to Stephen Ruby, co-owner of \u003ca href=\"https://www.merrittceramics.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Merritt Ceramics\u003c/a>, a pottery studio in Oakland.\u003c/p>\n\u003cp>“It’s hard for us to find diversity, especially in our hiring, because so many of the experienced people in the area are the whiter demographic that’s predominant,” Ruby says.\u003c/p>\n\u003cp>Ruby’s business already saw modest gains from participating in a program in 2019 through the Bay Area youth job training nonprofit \u003ca href=\"https://www.newdoor.org/\" target=\"_blank\" rel=\"noopener noreferrer\">New Door Ventures\u003c/a>, which enabled it to provide a handful of short-term, paid apprenticeships to local, low-income high schoolers. Ruby says he ended up offering one talented trainee a proper job.\u003c/p>\n\u003cp>“Having more opportunity for that would certainly open the door, I would think, for enabling more people to enter this kind of field or this kind of community, even,” Ruby says.\u003c/p>\n\u003cp>\u003cstrong>Funding and Implementation Still Vague\u003c/strong>\u003c/p>\n\u003cp>However, Ruby isn’t clear on how the new bill will be funded, or if his for-profit business would even be eligible to receive grants.\u003c/p>\n\u003cp>“It still seems vague,” he says.\u003c/p>\n\u003cp>The few lawmakers who oppose the bill share these concerns.\u003c/p>\n\u003cp>“I support a thriving arts community in California,” \u003ca href=\"https://bates.cssrc.us/\" target=\"_blank\" rel=\"noopener noreferrer\">State Senator Patricia Bates\u003c/a> said in a written statement emailed to KQED. “But I opposed SB628 because it does not specifically address who is eligible for the program, where the money will come from, and how that money will exactly be used.”\u003c/p>\n\u003cp>Senator Rubio says the legislation sets up the framework for the grant program, a crucial first step. If the governor signs the bill into law, she says the state’s Arts Council and \u003ca href=\"https://cwdb.ca.gov/\" target=\"_blank\" rel=\"noopener noreferrer\">Workforce Development Board\u003c/a> will go ahead and create guidelines for the program. And then advocates will start to push for funding from the state budget to create a pilot grant program.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“The funding, of course, is a concern,” Rubio says. “But I think before the funding comes, we need to establish the program.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=202120220SB628\" target=\"_blank\" rel=\"noopener noreferrer\">statewide bill\u003c/a> seeking to diversify California’s arts and culture workforce and provide jobs that pay a living wage to keep creative sector workers in expensive locales like the Bay Area has landed on the governor’s desk after winning near-unanimous support in the Assembly and Senate.\u003c/p>\n\u003cp>Introduced by \u003ca href=\"https://sd26.senate.ca.gov/\" target=\"_blank\" rel=\"noopener noreferrer\">California Senator Ben Allen\u003c/a> in the spring, the \u003ca href=\"https://static1.squarespace.com/static/5bc6c7a1c46f6d1ef38d6771/t/61253e1fd7ab280c0eaa7719/1629830696673/CFTA_SB628_info.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">California Creative Workforce Act\u003c/a> (SB628) is the first legislation of its kind in the country.\u003c/p>\n\u003cp>“The purpose of the act would be to establish creative arts workforce development as a state priority and to promote employment and ‘earn and learn,’ as defined, job training opportunities for creative workers, among other things,” the bill language states.\u003c/p>\n\u003cp>If Governor Gavin Newsom signs SB628 into law—he has until Oct. 10 to approve or veto it—it could eventually mean more career opportunities for Californians who might otherwise feel excluded from pursuing arts and culture careers because of financial or other constraints, and allow creative sector employers to employ arts professionals and pay them a living wage.\u003c/p>\n\u003cp>“The fact that the California State Assembly and Senate both really see the need for developing our creative artistic workforce, I think it’s fantastic,” says \u003ca href=\"https://mosaicamerica.org/usha-srinivasan/\" target=\"_blank\" rel=\"noopener noreferrer\">Usha Srinivasan\u003c/a>, co-founder and president of \u003ca href=\"https://mosaicamerica.org\" target=\"_blank\" rel=\"noopener noreferrer\">Mosaic America\u003c/a>, a South Bay arts nonprofit that presents inter-cultural events.\u003c/p>\n\u003cfigure id=\"attachment_13903215\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903215\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/RS51481_mosaic-qut-800x570.jpg\" alt=\"\" width=\"800\" height=\"570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RS51481_mosaic-qut-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RS51481_mosaic-qut-1020x727.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RS51481_mosaic-qut-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RS51481_mosaic-qut-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RS51481_mosaic-qut-1536x1095.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RS51481_mosaic-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ensemble Folclórico Colibri, Xpressions, and Hālau Nāpuaokamokihanaoha — some of the groups appearing in the upcoming Mosaic Festival in San Jose. Mosaic America, the small South Bay non-profit which produces the event, says the new legislation would help it provide jobs and training opportunities which it currently cannot afford to do. \u003ccite>(WeSparq.co)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Srinivasan says her small, grassroots arts group relies heavily on a volunteer workforce to produce programming like the upcoming \u003ca href=\"https://mosaicamerica.org/festival/\" target=\"_blank\" rel=\"noopener noreferrer\">Mosaic Festival\u003c/a>, an all-day event on Oct. 2 in San Jose featuring performances, workshops, exhibitions and food from many of the different cultures that make up Silicon Valley.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“W\u003cb>\u003c/b>e don’t have the money as a small community-based nonprofit dealing predominantly in communities of color to be able to hire workers,” Srinivasan says. “So what that legislation potentially could do is help organizations like ours that would love to have people we’re able to pay, as well as people we can train.”\u003c/p>\n\u003ch2>A Sector Under Siege\u003c/h2>\n\u003cp>According to the \u003ca href=\"https://nasaa-arts.org/nasaa_research/creative-economy-state-profiles/\" target=\"_blank\" rel=\"noopener noreferrer\">National Assembly of State Arts Agencies\u003c/a>, California’s creative sector contributes more than $230 billion dollars—or 25%—of the country’s entire creative economy. It represents nearly 8% of the Gross State Product (GSP), and nearly 800,000 jobs.\u003c/p>\n\u003cfigure id=\"attachment_13903218\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903218\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/RS51483_Screen-Shot-2021-09-15-at-17.40.52-qut-800x379.jpg\" alt=\"\" width=\"800\" height=\"379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RS51483_Screen-Shot-2021-09-15-at-17.40.52-qut-800x379.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RS51483_Screen-Shot-2021-09-15-at-17.40.52-qut-1020x483.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RS51483_Screen-Shot-2021-09-15-at-17.40.52-qut-160x76.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RS51483_Screen-Shot-2021-09-15-at-17.40.52-qut-768x364.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RS51483_Screen-Shot-2021-09-15-at-17.40.52-qut-1536x728.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/RS51483_Screen-Shot-2021-09-15-at-17.40.52-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Slide from Otis College of Art and Design’s “2020 COVID-19 Economic Impact on the California Creative Economy” study. \u003ccite>(Otis College of Art and Design)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the devastating effects of COVID-19 on the cultural industries have made this new legislation a matter of urgency, say the bill’s proponents. According to a \u003ca href=\"https://www.otis.edu/creative-economy/2021\" target=\"_blank\" rel=\"noopener noreferrer\">recent report\u003c/a> by the \u003ca href=\"https://www.otis.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Otis College of Art and Design\u003c/a>, the pandemic impacted more than 500,000 creative sector jobs around the state in 2020, and caused a creative economy output loss in excess of $140 billion over the year.\u003c/p>\n\u003cp>“We know that COVID-19 has disproportionately affected the creative arts, and this is a way to establish a long-term solution and try to support them with funding,” the bill’s co-author, \u003ca href=\"https://sd22.senate.ca.gov/\" target=\"_blank\" rel=\"noopener noreferrer\">State Senator Susan Rubio\u003c/a>, told KQED.\u003c/p>\n\u003cp>“It’s clear that we’ve got to make sure that that workforce is maintained in this state, and grows, finally getting rid of the ‘starving artist’ paradigm.” says \u003ca href=\"https://www.californiansforthearts.org/staff-board\" target=\"_blank\" rel=\"noopener noreferrer\">Julie Baker\u003c/a>, executive director of \u003ca href=\"https://www.californiansforthearts.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Californians for the Arts\u003c/a> and\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://californiaartsadvocates.org/\" target=\"_blank\" rel=\"noopener noreferrer\"> California Arts Advocates,\u003c/a> the latter of which co-sponsored the bill. “We’ve\u003c/span> also got to make sure the workforce matches who actually is in this state in terms of diversifying the workforce.”\u003c/p>\n\u003ch2>Current and Historic Parallels\u003c/h2>\n\u003cp>The California Creative Workforce Act is novel because there has never before been workforce legislation created at the statewide level specifically targeting the creative sector.\u003c/p>\n\u003cp>But there are other initiatives in process in California and around the country right now seeking to put jobs in artists hands. In May, \u003ca href=\"https://lieu.house.gov/\" target=\"_blank\" rel=\"noopener noreferrer\">California Congressman Ted Lieu\u003c/a> introduced the \u003ca href=\"https://lieu.house.gov/media-center/press-releases/reps-lieu-and-leger-fernandez-introduce-21st-century-federal-writers\" target=\"_blank\" rel=\"noopener noreferrer\">21st Century Federal Writers’ Project\u003c/a>, a federal bill calling for a revamp of the Depression-era program that provided jobs to out-of-work writers. Meanwhile the \u003ca href=\"https://esd.dof.ca.gov/Documents/bcp/2122/FY2122_ORG8260_BCP4748.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">California Creative Corps Pilot Program\u003c/a>, included in Governor Newsom’s California Comeback Plan, provides $60 million in funding to the \u003ca href=\"https://arts.ca.gov/\" target=\"_blank\" rel=\"noopener noreferrer\">California Arts Council\u003c/a> to put artists around the state to work on public health messaging around COVID-19.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"1934: A New Deal for Artists\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/vG4fqOaoRKs?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>SB628 also has roots in two \u003cspan style=\"font-weight: 400\">historic federal initiatives: The Works Progress Administration’s (WPA’s) \u003ca href=\"https://www.loc.gov/rr/program/bib/newdeal/fap.html\" target=\"_blank\" rel=\"noopener noreferrer\">Federal Art Project\u003c/a>, which successfully put thousands of artists to work during the Great Depression, and the lesser known \u003ca href=\"http://ceta-arts.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Comprehensive Employment and Training Act\u003c/a> (CETA), which provided full-time employment and training for more than 10,000 artists and 10,000 arts support staff from 1974-1980.\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.berkeleyrep.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Berkeley Repertory Theater\u003c/a> managing director \u003ca href=\"https://www.berkeleyrep.org/about/who-we-are/\" target=\"_blank\" rel=\"noopener noreferrer\">Susie Medak\u003c/a> says she owes her career in the arts to the training she got as a result of CETA.\u003c/p>\n\u003cp>“Many of us boomers, who began working in the ’60s and early ’70s, we all we all got hired because of the CETA grants,” Medak says. She adds that, early in her career, she was able to hire trainees through the program. “The point was that there was money there to take a gamble on people who had potential or interest and no skill. And the job of the organization was to train them,” Medak says.\u003c/p>\n\u003ch2>Diversifying the Talent Pipeline\u003c/h2>\n\u003cp>With a $20 million annual budget, Berkeley Rep is one of relatively few U.S. non-profit arts organizations to offer its own training program. Medak says the company’s training fellowships have been in effect since 1985, and 30 to 60 percent of the trainees have been from diverse backgrounds over the last 10 years.\u003c/p>\n\u003cp>“\u003cb>\u003c/b>20 to 30 percent of our workforce is people who we trained through that program,” Medak says. “S\u003cb>\u003c/b>o we know that we have we have a training model that works.”\u003c/p>\n\u003cp>She welcomes the new legislation as a pathway for more arts and culture organizations to diversify the talent pipeline. “\u003cb>\u003c/b>This is essential because what we know is one of the biggest barriers to young people of color being able to enter the arts is that entry level positions in this field tend to be very, very poorly compensated,” Medak says. “And so being able to minimize that as a barrier makes it possible for people to imagine that they can do this.”\u003c/p>\n\u003cp>The aspect of SB628 which seeks to earmark grants for creative sector employers to offer paid apprenticeships to Californians from diverse or low socioeconomic backgrounds also speaks to Stephen Ruby, co-owner of \u003ca href=\"https://www.merrittceramics.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Merritt Ceramics\u003c/a>, a pottery studio in Oakland.\u003c/p>\n\u003cp>“It’s hard for us to find diversity, especially in our hiring, because so many of the experienced people in the area are the whiter demographic that’s predominant,” Ruby says.\u003c/p>\n\u003cp>Ruby’s business already saw modest gains from participating in a program in 2019 through the Bay Area youth job training nonprofit \u003ca href=\"https://www.newdoor.org/\" target=\"_blank\" rel=\"noopener noreferrer\">New Door Ventures\u003c/a>, which enabled it to provide a handful of short-term, paid apprenticeships to local, low-income high schoolers. Ruby says he ended up offering one talented trainee a proper job.\u003c/p>\n\u003cp>“Having more opportunity for that would certainly open the door, I would think, for enabling more people to enter this kind of field or this kind of community, even,” Ruby says.\u003c/p>\n\u003cp>\u003cstrong>Funding and Implementation Still Vague\u003c/strong>\u003c/p>\n\u003cp>However, Ruby isn’t clear on how the new bill will be funded, or if his for-profit business would even be eligible to receive grants.\u003c/p>\n\u003cp>“It still seems vague,” he says.\u003c/p>\n\u003cp>The few lawmakers who oppose the bill share these concerns.\u003c/p>\n\u003cp>“I support a thriving arts community in California,” \u003ca href=\"https://bates.cssrc.us/\" target=\"_blank\" rel=\"noopener noreferrer\">State Senator Patricia Bates\u003c/a> said in a written statement emailed to KQED. “But I opposed SB628 because it does not specifically address who is eligible for the program, where the money will come from, and how that money will exactly be used.”\u003c/p>\n\u003cp>Senator Rubio says the legislation sets up the framework for the grant program, a crucial first step. If the governor signs the bill into law, she says the state’s Arts Council and \u003ca href=\"https://cwdb.ca.gov/\" target=\"_blank\" rel=\"noopener noreferrer\">Workforce Development Board\u003c/a> will go ahead and create guidelines for the program. And then advocates will start to push for funding from the state budget to create a pilot grant program.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The funding, of course, is a concern,” Rubio says. “But I think before the funding comes, we need to establish the program.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Gymnasts Recount the FBI's Mishandling of Their Allegations About Larry Nassar",
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"content": "\u003cp>In vivid and emotional testimony Wednesday at a Senate hearing, four elite American gymnasts testified about the abuse they had suffered by former USA Gymnastics doctor Larry Nassar and their feelings of betrayal by investigators, including from the FBI which they say let them down.\u003c/p>\n\u003cp>Olympic gymnast Simone Biles tearfully said she blames Nassar and also “an entire system that allowed his abuse,” including USA Gymnastics and the U.S. Olympic and Paralympic Committee.\u003c/p>\n\u003cp>[aside postid='arts_13863907']“The scars of this horrific abuse continue,” Biles testified, saying that “the impact of this man’s abuse will never be over.”\u003c/p>\n\u003cp>McKayla Maroney said Nassar “turned out to be more of a pedophile than he was a doctor.”\u003c/p>\n\u003cp>She recalled sitting on her bedroom floor in 2015 telling the FBI on the phone “all of my molestations in extreme detail.” She said that after describing instances of abuse by Nassar, including before her winning the team gold medal at the London Olympics in 2012, “I cried, and there was just silence” on the part of the FBI agent.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She said the FBI then falsified her statement, said the agents involved should be indicted and criticized Deputy Attorney General Lisa Monaco for not appearing at the hearing.\u003c/p>\n\u003cp>“I am tired of waiting for people to do the right thing,” Maroney said.\u003c/p>\n\u003cp>The Justice Department so far not has brought charges against either of the former FBI agents most closely involved in the case. The FBI fired Special Agent Michael Langeman in the last two weeks, FBI Director Christopher Wray later told the panel. Langeman’s supervisor, Jay Abbott, previously resigned.\u003c/p>\n\u003cfigure id=\"attachment_13903181\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903181\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/ap21258552837799_wide-187b8bc8ae46fee4d52f003e1738f64fb625480b-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">Biles testifies Wednesday during the Senate hearing. “The impact of this man’s abuse will never be over,” the Olympic gymnast said. \u003ccite>(Saul Loeb/Pool via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Aly Raisman said the FBI made her feel her ‘abuse didn’t count’\u003c/h3>\n\u003cp>Aly Raisman, also a member of the 2012 U.S. Olympic team, called for an investigation of USA Gymnastics and the U.S. Olympic and Paralympic Committee. She said the victims of Nassar’s abuse have “been treated like adversaries.”\u003c/p>\n\u003cp>[aside postid='arts_13891766']Raisman said that all she and her fellow gymnasts are asking for “is when a child goes to gymnastics or goes to school or does anything that they can be spared abuse.” She told the panel, “We’ve been victim-shamed online over and over again.”\u003c/p>\n\u003cp>She said that the FBI “made me feel my abuse didn’t count.” She recalled sitting with an FBI agent and him “trying to convince me that it wasn’t that bad.”\u003c/p>\n\u003cp>Raisman said that it took her “years of therapy to realize my abuse was bad, that it does matter.”\u003c/p>\n\u003cp>She later added that “all we needed was for one adult to do the right thing.”\u003c/p>\n\u003ch3>The FBI director apologized that the bureau let them down\u003c/h3>\n\u003cp>Wray, testifying after the four gymnasts, said that the “kinds of fundamental errors that were made in this case in 2015 and 2016 should have never happened, period.”\u003c/p>\n\u003cp>He told the gymnasts he was “deeply and profoundly sorry that so many people let you down over and over again.”\u003c/p>\n\u003cp>Wray added “that on no planet is what happened in this case acceptable.”\u003c/p>\n\u003cp>Senators on the panel had few questions for the gymnasts but all expressed support and praised their courage for stepping forward.\u003c/p>\n\u003cp>Sen. Richard Blumenthal, D-Conn., asked if they knew of other athletes abused by Nassar after the first incidents were reported to the FBI’s Indianapolis field office in July 2015. All responded that they did.\u003c/p>\n\u003cp>Sen. Ted Cruz, R-Texas, said that “the system failed you. That system needs to change. That system needs to be held accountable so that this doesn’t happen again.”\u003c/p>\n\u003ch3>Durbin calls the FBI’s handling a ”stain on the bureau”\u003c/h3>\n\u003cp>In his opening statement, Senate Judiciary Committee Chairman Richard Durbin, D-Ill., called the FBI’s handling of the case “a stain on the bureau.”\u003c/p>\n\u003cp>“In the 15-month period that FBI officials shirked their responsibility, Nassar abused at least 70 young athletes,” Durbin said. “For many of them, this was a continuation, but for others they were abused for the first time while the FBI sat on the case.”\u003c/p>\n\u003cp>[aside postid='pop_108600']The four who testified Wednesday, including Maggie Nichols, are among hundreds of women and girls who said Nassar sexually abused them while claiming he was treating them. Nassar is serving an \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/01/24/580304914/larry-nassar-sentenced-to-up-to-175-years-in-prison-by-michigan-judge\" target=\"_blank\" rel=\"noopener noreferrer\">effective life sentence in prison\u003c/a>.\u003c/p>\n\u003cp>The panel also heard from Justice Department Inspector General Michael Horowitz, who in a \u003ca href=\"https://www.npr.org/2021/07/15/1016300657/watchdog-fbi-failed-to-properly-respond-to-gymnasts-sex-abuse-allegations\" target=\"_blank\" rel=\"noopener noreferrer\">recent report found\u003c/a> that the bureau failed to investigate the abuse charges against Nassar adequately.\u003c/p>\n\u003cp>The \u003ca href=\"https://oig.justice.gov/reports/investigation-and-review-federal-bureau-investigations-handling-allegations-sexual-abuse\" target=\"_blank\" rel=\"noopener noreferrer\">July report\u003c/a> by the inspector general’s office found that senior officials in the FBI Indianapolis field office failed to respond to allegations of sexual abuse of athletes by Nassar “with the urgency that the allegations required.” The IG said the Indianapolis field office also “made fundamental errors when it did respond to the allegations” by failing to notify the appropriate FBI field office in Lansing, Mich., where Nassar was employed by Michigan State University, or state or local authorities of the allegations, and “failed to take other steps to mitigate the ongoing threat posed by Nassar.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In his prepared opening statement, the top Republican on the committee, Sen. Chuck Grassley of Iowa, said that children “suffered needlessly because multiple agents in multiple offices at the FBI neglected to share the Nassar allegations with their law enforcement counterparts at state and local agencies.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Gymnasts+Recount+The+FBI%27s+Mishandling+Of+Their+Allegations+About+Larry+Nassar&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“The scars of this horrific abuse continue,” Biles testified, saying that “the impact of this man’s abuse will never be over.”\u003c/p>\n\u003cp>McKayla Maroney said Nassar “turned out to be more of a pedophile than he was a doctor.”\u003c/p>\n\u003cp>She recalled sitting on her bedroom floor in 2015 telling the FBI on the phone “all of my molestations in extreme detail.” She said that after describing instances of abuse by Nassar, including before her winning the team gold medal at the London Olympics in 2012, “I cried, and there was just silence” on the part of the FBI agent.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She said the FBI then falsified her statement, said the agents involved should be indicted and criticized Deputy Attorney General Lisa Monaco for not appearing at the hearing.\u003c/p>\n\u003cp>“I am tired of waiting for people to do the right thing,” Maroney said.\u003c/p>\n\u003cp>The Justice Department so far not has brought charges against either of the former FBI agents most closely involved in the case. The FBI fired Special Agent Michael Langeman in the last two weeks, FBI Director Christopher Wray later told the panel. Langeman’s supervisor, Jay Abbott, previously resigned.\u003c/p>\n\u003cfigure id=\"attachment_13903181\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903181\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/ap21258552837799_wide-187b8bc8ae46fee4d52f003e1738f64fb625480b-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">Biles testifies Wednesday during the Senate hearing. “The impact of this man’s abuse will never be over,” the Olympic gymnast said. \u003ccite>(Saul Loeb/Pool via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Aly Raisman said the FBI made her feel her ‘abuse didn’t count’\u003c/h3>\n\u003cp>Aly Raisman, also a member of the 2012 U.S. Olympic team, called for an investigation of USA Gymnastics and the U.S. Olympic and Paralympic Committee. She said the victims of Nassar’s abuse have “been treated like adversaries.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Raisman said that all she and her fellow gymnasts are asking for “is when a child goes to gymnastics or goes to school or does anything that they can be spared abuse.” She told the panel, “We’ve been victim-shamed online over and over again.”\u003c/p>\n\u003cp>She said that the FBI “made me feel my abuse didn’t count.” She recalled sitting with an FBI agent and him “trying to convince me that it wasn’t that bad.”\u003c/p>\n\u003cp>Raisman said that it took her “years of therapy to realize my abuse was bad, that it does matter.”\u003c/p>\n\u003cp>She later added that “all we needed was for one adult to do the right thing.”\u003c/p>\n\u003ch3>The FBI director apologized that the bureau let them down\u003c/h3>\n\u003cp>Wray, testifying after the four gymnasts, said that the “kinds of fundamental errors that were made in this case in 2015 and 2016 should have never happened, period.”\u003c/p>\n\u003cp>He told the gymnasts he was “deeply and profoundly sorry that so many people let you down over and over again.”\u003c/p>\n\u003cp>Wray added “that on no planet is what happened in this case acceptable.”\u003c/p>\n\u003cp>Senators on the panel had few questions for the gymnasts but all expressed support and praised their courage for stepping forward.\u003c/p>\n\u003cp>Sen. Richard Blumenthal, D-Conn., asked if they knew of other athletes abused by Nassar after the first incidents were reported to the FBI’s Indianapolis field office in July 2015. All responded that they did.\u003c/p>\n\u003cp>Sen. Ted Cruz, R-Texas, said that “the system failed you. That system needs to change. That system needs to be held accountable so that this doesn’t happen again.”\u003c/p>\n\u003ch3>Durbin calls the FBI’s handling a ”stain on the bureau”\u003c/h3>\n\u003cp>In his opening statement, Senate Judiciary Committee Chairman Richard Durbin, D-Ill., called the FBI’s handling of the case “a stain on the bureau.”\u003c/p>\n\u003cp>“In the 15-month period that FBI officials shirked their responsibility, Nassar abused at least 70 young athletes,” Durbin said. “For many of them, this was a continuation, but for others they were abused for the first time while the FBI sat on the case.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The four who testified Wednesday, including Maggie Nichols, are among hundreds of women and girls who said Nassar sexually abused them while claiming he was treating them. Nassar is serving an \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/01/24/580304914/larry-nassar-sentenced-to-up-to-175-years-in-prison-by-michigan-judge\" target=\"_blank\" rel=\"noopener noreferrer\">effective life sentence in prison\u003c/a>.\u003c/p>\n\u003cp>The panel also heard from Justice Department Inspector General Michael Horowitz, who in a \u003ca href=\"https://www.npr.org/2021/07/15/1016300657/watchdog-fbi-failed-to-properly-respond-to-gymnasts-sex-abuse-allegations\" target=\"_blank\" rel=\"noopener noreferrer\">recent report found\u003c/a> that the bureau failed to investigate the abuse charges against Nassar adequately.\u003c/p>\n\u003cp>The \u003ca href=\"https://oig.justice.gov/reports/investigation-and-review-federal-bureau-investigations-handling-allegations-sexual-abuse\" target=\"_blank\" rel=\"noopener noreferrer\">July report\u003c/a> by the inspector general’s office found that senior officials in the FBI Indianapolis field office failed to respond to allegations of sexual abuse of athletes by Nassar “with the urgency that the allegations required.” The IG said the Indianapolis field office also “made fundamental errors when it did respond to the allegations” by failing to notify the appropriate FBI field office in Lansing, Mich., where Nassar was employed by Michigan State University, or state or local authorities of the allegations, and “failed to take other steps to mitigate the ongoing threat posed by Nassar.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In his prepared opening statement, the top Republican on the committee, Sen. Chuck Grassley of Iowa, said that children “suffered needlessly because multiple agents in multiple offices at the FBI neglected to share the Nassar allegations with their law enforcement counterparts at state and local agencies.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Gymnasts+Recount+The+FBI%27s+Mishandling+Of+Their+Allegations+About+Larry+Nassar&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Bay Area Artists and Abortion Rights Advocates Respond to Texas Law",
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"content": "\u003cp>A week after Texas’ Senate Bill 8 became law, effectively banning abortions after the sixth week of pregnancy, its effects continue to ripple outward.\u003c/p>\n\u003cp>California abortion rights advocates are newly attuned to the stakes of the Sept. 14 recall election (GOP frontrunner Larry Elder has called Roe v. Wade “one of the worst decisions that the Supreme Court ever handed down”). And Texas Right to Life, the anti-abortion group that helped draft SB 8, says \u003ca href=\"https://www.forbes.com/sites/alisondurkee/2021/09/02/florida-lawmakers-suggest-theyll-copy-texas-abortion-ban-and-other-gop-states-will-likely-follow/?sh=7cdd048e1bdf\" rel=\"noopener noreferrer\" target=\"_blank\">it’s already working\u003c/a> with three other states on similar legislation.\u003c/p>\n\u003cp>The implications of the country’s most restrictive anti-abortion law have spurred Bay Area residents to action.\u003c/p>\n\u003ch2>‘We Need to Do Something’\u003c/h2>\n\u003cp>“Texas is showing us what will happen elsewhere,” says Erin Lim, co-host, with Angela Tabora, of the San Francisco-based \u003ca href=\"https://www.bitchtalkpodcast.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Bitch Talk Podcast\u003c/a>. In response to SB 8, Lim took to the show’s Instagram to launch a fundraiser for Planned Parenthood Mar Monte, which serves over 220,000 families in mid-California and Northern Nevada—an out-of-state location people in Texas might now turn to for abortion services. \u003c/p>\n\u003cp>As a podcast that often features filmmakers, comedians and artists, Lim called on some of their former guests to ask what role Hollywood might take in response to the law, but quickly realized she and Tabora could take their own steps to organize. “If we’re going to urge other folks to do things on their bigger platforms, \u003ci>we\u003c/i> need to do something,” says Lim. “SB 8 is really affecting women of color. Let’s be honest, it’s downright racist.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Tabora says the importance of reproductive justice has been apparent to her since she was a student in a Catholic high school. “I had a friend who needed an abortion,” she remembers. “And my school kicked her out. There was no dialogue, no compassion. That was the start of a lifelong fight for our rights and our autonomy and the right to live our best lives possible.” \u003c/p>\n\u003cp>The co-hosts plan to participate in an \u003ca href=\"https://womensmarch.com/mobilize\" rel=\"noopener noreferrer\" target=\"_blank\">Oct. 2 march\u003c/a>, part of a national event organized by the Women’s March in defense of reproductive rights.\u003c/p>\n\u003cp>Other Bay Area residents, learning of the passage of SB 8 in the wee hours of Sept. 1 (“This is why you shouldn’t get on your phone before bed, kids,” says Tabora), took to the internet to learn more about the law’s effects and seek out ways to combat it.\u003c/p>\n\u003cp>SB 8 is unique in that it removes the burden of enforcement from state officials, and instead allows individuals to bring civil lawsuits against anyone they suspect of “aiding or abetting” an illegal abortion. Before the “tip line” website set up by Texas Right to Life was taken offline, artist and paralegal Mary Ann Kluth spammed the text fields with her own brand of humor. “I was just cutting and pasting \u003ci>Dr. Who\u003c/i> plots to tell them about my favorite doctor,” she says. \u003c/p>\n\u003cblockquote class=\"tiktok-embed\" cite=\"https://www.tiktok.com/@black_madness21/video/7000057713975725318\" data-video-id=\"7000057713975725318\" style=\"max-width: 605px;min-width: 325px\">\n\u003csection> \u003ca target=\"_blank\" title=\"@black_madness21\" href=\"https://www.tiktok.com/@black_madness21\" rel=\"noopener noreferrer\">@black_madness21\u003c/a> \n\u003cp>Reply to @black_madness21 \u003ca title=\"texas\" target=\"_blank\" href=\"https://www.tiktok.com/tag/texas\" rel=\"noopener noreferrer\">#texas\u003c/a> \u003ca title=\"abortion\" target=\"_blank\" href=\"https://www.tiktok.com/tag/abortion\" rel=\"noopener noreferrer\">#abortion\u003c/a> \u003ca title=\"gregabbott\" target=\"_blank\" href=\"https://www.tiktok.com/tag/gregabbott\" rel=\"noopener noreferrer\">#gregabbott\u003c/a>\u003c/p>\n\u003cp> \u003ca target=\"_blank\" title=\"♬ original sound - Sean Black\" href=\"https://www.tiktok.com/music/original-sound-7000057554395007750\" rel=\"noopener noreferrer\">♬ original sound – Sean Black\u003c/a> \u003c/p>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>She learned about the site—and the decentralized effort to crash it with bogus reports—from TikToks cross-posted to other social platforms. Kluth also emailed GoDaddy, the site’s initial hosting provider, to protest the inherent privacy violations. Now booted from two separate hosting services, the site remains offline. Even this small success, Kluth says, “feels like being part of a community.”\u003c/p>\n\u003cp>Kimberley Acebo Arteche, a San Francisco artist, filed a similarly cheeky report. She “snitched” on the British artist Damien Hirst for “getting emojis pregnant” on \u003ca href=\"https://www.instagram.com/p/CTMjLNnltPF/\" rel=\"noopener noreferrer\" target=\"_blank\">Drake’s new album cover\u003c/a>. In a field that asked what else she wanted to share, she wrote, “Why are you limiting people’s access to healthcare? Stop being so oppressive.”\u003c/p>\n\u003cp>“It was the littlest bit of satisfaction,” she admits. “It feels like flicking someone on the forehead. It’s annoying, but you don’t actually know if it’s going to make any impact. So part of my general frustration is what can we actually do to keep this from spreading. And then thinking about the recall on Newsom, that this could catch on and spread to other states.”\u003c/p>\n\u003ch2>California Still Vulnerable\u003c/h2>\n\u003cp>Californians enjoy some of the strongest reproductive rights in the United States, but that doesn’t mean those rights can be taken for granted. “It takes a lot of time, as we’ve seen other states do, to dismantle reproductive freedom,” says Jessica Pinckney, executive director of \u003ca href=\"https://accessrj.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Access Reproductive Justice\u003c/a>. But, she notes, “It would be a starting point were we to have a new governor.”[aside postID='news_11886920'] \u003c/p>\n\u003cp>As \u003ca href=\"https://www.kqed.org/news/11886920/what-a-republican-governor-could-do-and-undo-if-newsom-is-recalled\" rel=\"noopener noreferrer\" target=\"_blank\">previous KQED reporting\u003c/a> has explained, it doesn’t take an executive order to slow or halt existing policies, only the appointment of key personnel. “It will really send a very different and stark message if we have a governor who does not see California as a reproductive freedom state and isn’t willing to take every opportunity possible to increase access and reduce barriers within the state of California,” Pinckney explains.\u003c/p>\n\u003cp>It’s something Niyyah Lateef, an Oakland community health educator and abortion doula, says definitely raises the stakes of the recall election. As an abortion doula, Lateef provides physical, emotional and mental support for people seeking abortions. “That can be helping someone navigate the appointments, going with someone to the appointments,” they explain. “If someone is doing an at-home abortion, it’s making sure they have the things they need, which could be heating pads, water, food, any types of comfort.”\u003c/p>\n\u003cp>Lateef received their doula training in Los Angeles County, but points to Bay Area organizations like \u003ca href=\"https://www.badoulatrainings.org/abortion-doula\" rel=\"noopener noreferrer\" target=\"_blank\">Birthing Advocacy\u003c/a> and \u003ca href=\"https://www.sumistouch.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Sumi’s Touch\u003c/a> with similar programs. \u003c/p>\n\u003cp>They’ve previously supported clients from out of state, helping people figure out where to buy abortion medication or supporting them via text messages. In the wake of SB 8, Lateef sees their role as amplifying the work of other educators in Texas. Sometimes that’s simply posting and reposting information on Instagram, so often does such content disappear from the social media platform. “It’s not surprising,” Lateef says, “because Instagram literally doesn’t want any kind of sex education at all.”\u003c/p>\n\u003cfigure id=\"attachment_13902756\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1233172125_1200.jpg\" alt=\"\" width=\"1200\" height=\"798\" class=\"size-full wp-image-13902756\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1233172125_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1233172125_1200-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1233172125_1200-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1233172125_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1233172125_1200-768x511.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Pro-choice protesters dressed as handmaids march down Congress Avenue at a protest outside the Texas state capitol on May 29, 2021 in Austin, Texas. \u003ccite>(Sergio Flores/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Access to reproductive information and healthcare, even in California, is by no means guaranteed to everyone in the state. “Something we hear often is how progressive we are as a state and how grateful folks are,” Pinckney says, “but there are still barriers to accessing abortion care.” Those barriers can include geography, someone’s gestational state, and the cost of getting an abortion.\u003c/p>\n\u003ch2>Getting Involved\u003c/h2>\n\u003cp>For those reeling in the wake of SB 8 and motivated to support abortion rights, Pinckney encourages getting involved. “Abortion funds like Access always need support financially, as well as volunteers.” In the pre-COVD times, Access volunteers might help drive people to services or provide overnight lodging; the organization can also coordinate childcare, support time off work and organize meals for its clients.\u003c/p>\n\u003cp>In that spirit, Kluth points out there’s plenty of entry points into online activism. “Anyone can do this,” she says. “The hashtag right now is #abortionishealthcare. You don’t have to get super deep into Reddit or be young and cool on TikTok—you can just find a community on whatever social media is comfortable to use, and hashtags are a great way to connect with what’s happening.”\u003c/p>\n\u003cp>Tabora of Bitch Talk Podcast says the key for her is to stay vocal, not just on social media but in one’s own family. “We all have that one uncle—if we’re lucky, just one,” she says. “Use the word abortion, it should not be taboo.”\u003c/p>\n\u003cp>Ultimately, Pinckney advises, the best approach to reproductive justice is to take guidance from those on the ground in Texas, especially those who are experiencing the effects of SB 8. The most marginalized, she says, “are the most equipped to tell us what they need to be supported in this moment.”\u003c/p>\n\u003ch2>On-the-Ground Support\u003c/h2>\n\u003cp>Bay Area artists and activists shared the organizations in Texas that they see offering support to those affected by SB 8, directly and with a focus on equity. \u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.theafiyacenter.org/donate\" rel=\"noopener noreferrer\" target=\"_blank\">The Afiya Center\u003c/a>\u003c/b>\u003cbr>\nThis North Texas reproductive justice organization maintains the SYS Fund, created to ensure that Black people continue to have access to abortions. The fund also assists with the associated costs of hotels, childcare and transportation. TAC is currently asking for both donations and volunteers to sustain this work. TAC’s executive director Marsha Jones said in a press release: “It will be those who continue to carry the disproportionate burdens of reproductive oppression, Black womxn, who will most expeditiously experience the impact of this most heinous law.”\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://fronterafundrgv.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Frontera Fund\u003c/a>\u003c/b>\u003cbr>\nFrontera Fund provides financial and community support to people seeking abortion access in the Rio Grande Valley—a region that encompasses towns in both Texas and Tamaulipas, Mexico. Frontera offers healthcare assistance to all who need it regardless of immigration status, age or gender identity.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://fundtexaschoice.org/donate/\" rel=\"noopener noreferrer\" target=\"_blank\">Fund Texas Choice\u003c/a>\u003c/b>\u003cbr>\nFund Texas Choice has been working to ensure its clients have safe access to reproductive healthcare since 2013. It is currently arranging and paying for the travel and accommodation of people who need assistance getting to out-of-state appointments. Anna Rupani, a representative for the nonprofit, told Rachel Maddow: “It may be that we will get sued, but we’re going to continue fighting. We’re going to continue being there for our clients.” \u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://janesdueprocess.org/donate/\" rel=\"noopener noreferrer\" target=\"_blank\">Jane’s Due Process\u003c/a>\u003c/b>\u003cbr>\nJane’s Due Process is focused on helping teens access birth control and family planning services without involving their parents. The organization offers free legal representation, and assists pregnant people who are under 18 to privately and safely access the healthcare that’s right for them. Jane’s also has a special text line (1-866-999-5263) specifically for teens in Texas who want birth control, but can’t—or don’t want to—get parental permission.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://teafund.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Texas Equal Access Fund\u003c/a>\u003c/b>\u003cbr>\nThe TEA Fund provides both financial and emotional assistance to people in Texas seeking abortion care. People in need of help can text volunteers (1-844-TEA-FUND) for information about available clinics, as well as how to access financial and mental health assistance. In addition, the organization operates a helpline (1-888-854-4852) every Monday and Thursday, 7–10am.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A week after Texas’ Senate Bill 8 became law, effectively banning abortions after the sixth week of pregnancy, its effects continue to ripple outward.\u003c/p>\n\u003cp>California abortion rights advocates are newly attuned to the stakes of the Sept. 14 recall election (GOP frontrunner Larry Elder has called Roe v. Wade “one of the worst decisions that the Supreme Court ever handed down”). And Texas Right to Life, the anti-abortion group that helped draft SB 8, says \u003ca href=\"https://www.forbes.com/sites/alisondurkee/2021/09/02/florida-lawmakers-suggest-theyll-copy-texas-abortion-ban-and-other-gop-states-will-likely-follow/?sh=7cdd048e1bdf\" rel=\"noopener noreferrer\" target=\"_blank\">it’s already working\u003c/a> with three other states on similar legislation.\u003c/p>\n\u003cp>The implications of the country’s most restrictive anti-abortion law have spurred Bay Area residents to action.\u003c/p>\n\u003ch2>‘We Need to Do Something’\u003c/h2>\n\u003cp>“Texas is showing us what will happen elsewhere,” says Erin Lim, co-host, with Angela Tabora, of the San Francisco-based \u003ca href=\"https://www.bitchtalkpodcast.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Bitch Talk Podcast\u003c/a>. In response to SB 8, Lim took to the show’s Instagram to launch a fundraiser for Planned Parenthood Mar Monte, which serves over 220,000 families in mid-California and Northern Nevada—an out-of-state location people in Texas might now turn to for abortion services. \u003c/p>\n\u003cp>As a podcast that often features filmmakers, comedians and artists, Lim called on some of their former guests to ask what role Hollywood might take in response to the law, but quickly realized she and Tabora could take their own steps to organize. “If we’re going to urge other folks to do things on their bigger platforms, \u003ci>we\u003c/i> need to do something,” says Lim. “SB 8 is really affecting women of color. Let’s be honest, it’s downright racist.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tabora says the importance of reproductive justice has been apparent to her since she was a student in a Catholic high school. “I had a friend who needed an abortion,” she remembers. “And my school kicked her out. There was no dialogue, no compassion. That was the start of a lifelong fight for our rights and our autonomy and the right to live our best lives possible.” \u003c/p>\n\u003cp>The co-hosts plan to participate in an \u003ca href=\"https://womensmarch.com/mobilize\" rel=\"noopener noreferrer\" target=\"_blank\">Oct. 2 march\u003c/a>, part of a national event organized by the Women’s March in defense of reproductive rights.\u003c/p>\n\u003cp>Other Bay Area residents, learning of the passage of SB 8 in the wee hours of Sept. 1 (“This is why you shouldn’t get on your phone before bed, kids,” says Tabora), took to the internet to learn more about the law’s effects and seek out ways to combat it.\u003c/p>\n\u003cp>SB 8 is unique in that it removes the burden of enforcement from state officials, and instead allows individuals to bring civil lawsuits against anyone they suspect of “aiding or abetting” an illegal abortion. Before the “tip line” website set up by Texas Right to Life was taken offline, artist and paralegal Mary Ann Kluth spammed the text fields with her own brand of humor. “I was just cutting and pasting \u003ci>Dr. Who\u003c/i> plots to tell them about my favorite doctor,” she says. \u003c/p>\n\u003cblockquote class=\"tiktok-embed\" cite=\"https://www.tiktok.com/@black_madness21/video/7000057713975725318\" data-video-id=\"7000057713975725318\" style=\"max-width: 605px;min-width: 325px\">\n\u003csection> \u003ca target=\"_blank\" title=\"@black_madness21\" href=\"https://www.tiktok.com/@black_madness21\" rel=\"noopener noreferrer\">@black_madness21\u003c/a> \n\u003cp>Reply to @black_madness21 \u003ca title=\"texas\" target=\"_blank\" href=\"https://www.tiktok.com/tag/texas\" rel=\"noopener noreferrer\">#texas\u003c/a> \u003ca title=\"abortion\" target=\"_blank\" href=\"https://www.tiktok.com/tag/abortion\" rel=\"noopener noreferrer\">#abortion\u003c/a> \u003ca title=\"gregabbott\" target=\"_blank\" href=\"https://www.tiktok.com/tag/gregabbott\" rel=\"noopener noreferrer\">#gregabbott\u003c/a>\u003c/p>\n\u003cp> \u003ca target=\"_blank\" title=\"♬ original sound - Sean Black\" href=\"https://www.tiktok.com/music/original-sound-7000057554395007750\" rel=\"noopener noreferrer\">♬ original sound – Sean Black\u003c/a> \u003c/p>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She learned about the site—and the decentralized effort to crash it with bogus reports—from TikToks cross-posted to other social platforms. Kluth also emailed GoDaddy, the site’s initial hosting provider, to protest the inherent privacy violations. Now booted from two separate hosting services, the site remains offline. Even this small success, Kluth says, “feels like being part of a community.”\u003c/p>\n\u003cp>Kimberley Acebo Arteche, a San Francisco artist, filed a similarly cheeky report. She “snitched” on the British artist Damien Hirst for “getting emojis pregnant” on \u003ca href=\"https://www.instagram.com/p/CTMjLNnltPF/\" rel=\"noopener noreferrer\" target=\"_blank\">Drake’s new album cover\u003c/a>. In a field that asked what else she wanted to share, she wrote, “Why are you limiting people’s access to healthcare? Stop being so oppressive.”\u003c/p>\n\u003cp>“It was the littlest bit of satisfaction,” she admits. “It feels like flicking someone on the forehead. It’s annoying, but you don’t actually know if it’s going to make any impact. So part of my general frustration is what can we actually do to keep this from spreading. And then thinking about the recall on Newsom, that this could catch on and spread to other states.”\u003c/p>\n\u003ch2>California Still Vulnerable\u003c/h2>\n\u003cp>Californians enjoy some of the strongest reproductive rights in the United States, but that doesn’t mean those rights can be taken for granted. “It takes a lot of time, as we’ve seen other states do, to dismantle reproductive freedom,” says Jessica Pinckney, executive director of \u003ca href=\"https://accessrj.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Access Reproductive Justice\u003c/a>. But, she notes, “It would be a starting point were we to have a new governor.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> \u003c/p>\n\u003cp>As \u003ca href=\"https://www.kqed.org/news/11886920/what-a-republican-governor-could-do-and-undo-if-newsom-is-recalled\" rel=\"noopener noreferrer\" target=\"_blank\">previous KQED reporting\u003c/a> has explained, it doesn’t take an executive order to slow or halt existing policies, only the appointment of key personnel. “It will really send a very different and stark message if we have a governor who does not see California as a reproductive freedom state and isn’t willing to take every opportunity possible to increase access and reduce barriers within the state of California,” Pinckney explains.\u003c/p>\n\u003cp>It’s something Niyyah Lateef, an Oakland community health educator and abortion doula, says definitely raises the stakes of the recall election. As an abortion doula, Lateef provides physical, emotional and mental support for people seeking abortions. “That can be helping someone navigate the appointments, going with someone to the appointments,” they explain. “If someone is doing an at-home abortion, it’s making sure they have the things they need, which could be heating pads, water, food, any types of comfort.”\u003c/p>\n\u003cp>Lateef received their doula training in Los Angeles County, but points to Bay Area organizations like \u003ca href=\"https://www.badoulatrainings.org/abortion-doula\" rel=\"noopener noreferrer\" target=\"_blank\">Birthing Advocacy\u003c/a> and \u003ca href=\"https://www.sumistouch.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Sumi’s Touch\u003c/a> with similar programs. \u003c/p>\n\u003cp>They’ve previously supported clients from out of state, helping people figure out where to buy abortion medication or supporting them via text messages. In the wake of SB 8, Lateef sees their role as amplifying the work of other educators in Texas. Sometimes that’s simply posting and reposting information on Instagram, so often does such content disappear from the social media platform. “It’s not surprising,” Lateef says, “because Instagram literally doesn’t want any kind of sex education at all.”\u003c/p>\n\u003cfigure id=\"attachment_13902756\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1233172125_1200.jpg\" alt=\"\" width=\"1200\" height=\"798\" class=\"size-full wp-image-13902756\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1233172125_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1233172125_1200-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1233172125_1200-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1233172125_1200-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1233172125_1200-768x511.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Pro-choice protesters dressed as handmaids march down Congress Avenue at a protest outside the Texas state capitol on May 29, 2021 in Austin, Texas. \u003ccite>(Sergio Flores/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Access to reproductive information and healthcare, even in California, is by no means guaranteed to everyone in the state. “Something we hear often is how progressive we are as a state and how grateful folks are,” Pinckney says, “but there are still barriers to accessing abortion care.” Those barriers can include geography, someone’s gestational state, and the cost of getting an abortion.\u003c/p>\n\u003ch2>Getting Involved\u003c/h2>\n\u003cp>For those reeling in the wake of SB 8 and motivated to support abortion rights, Pinckney encourages getting involved. “Abortion funds like Access always need support financially, as well as volunteers.” In the pre-COVD times, Access volunteers might help drive people to services or provide overnight lodging; the organization can also coordinate childcare, support time off work and organize meals for its clients.\u003c/p>\n\u003cp>In that spirit, Kluth points out there’s plenty of entry points into online activism. “Anyone can do this,” she says. “The hashtag right now is #abortionishealthcare. You don’t have to get super deep into Reddit or be young and cool on TikTok—you can just find a community on whatever social media is comfortable to use, and hashtags are a great way to connect with what’s happening.”\u003c/p>\n\u003cp>Tabora of Bitch Talk Podcast says the key for her is to stay vocal, not just on social media but in one’s own family. “We all have that one uncle—if we’re lucky, just one,” she says. “Use the word abortion, it should not be taboo.”\u003c/p>\n\u003cp>Ultimately, Pinckney advises, the best approach to reproductive justice is to take guidance from those on the ground in Texas, especially those who are experiencing the effects of SB 8. The most marginalized, she says, “are the most equipped to tell us what they need to be supported in this moment.”\u003c/p>\n\u003ch2>On-the-Ground Support\u003c/h2>\n\u003cp>Bay Area artists and activists shared the organizations in Texas that they see offering support to those affected by SB 8, directly and with a focus on equity. \u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://www.theafiyacenter.org/donate\" rel=\"noopener noreferrer\" target=\"_blank\">The Afiya Center\u003c/a>\u003c/b>\u003cbr>\nThis North Texas reproductive justice organization maintains the SYS Fund, created to ensure that Black people continue to have access to abortions. The fund also assists with the associated costs of hotels, childcare and transportation. TAC is currently asking for both donations and volunteers to sustain this work. TAC’s executive director Marsha Jones said in a press release: “It will be those who continue to carry the disproportionate burdens of reproductive oppression, Black womxn, who will most expeditiously experience the impact of this most heinous law.”\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://fronterafundrgv.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Frontera Fund\u003c/a>\u003c/b>\u003cbr>\nFrontera Fund provides financial and community support to people seeking abortion access in the Rio Grande Valley—a region that encompasses towns in both Texas and Tamaulipas, Mexico. Frontera offers healthcare assistance to all who need it regardless of immigration status, age or gender identity.\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://fundtexaschoice.org/donate/\" rel=\"noopener noreferrer\" target=\"_blank\">Fund Texas Choice\u003c/a>\u003c/b>\u003cbr>\nFund Texas Choice has been working to ensure its clients have safe access to reproductive healthcare since 2013. It is currently arranging and paying for the travel and accommodation of people who need assistance getting to out-of-state appointments. Anna Rupani, a representative for the nonprofit, told Rachel Maddow: “It may be that we will get sued, but we’re going to continue fighting. We’re going to continue being there for our clients.” \u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://janesdueprocess.org/donate/\" rel=\"noopener noreferrer\" target=\"_blank\">Jane’s Due Process\u003c/a>\u003c/b>\u003cbr>\nJane’s Due Process is focused on helping teens access birth control and family planning services without involving their parents. The organization offers free legal representation, and assists pregnant people who are under 18 to privately and safely access the healthcare that’s right for them. Jane’s also has a special text line (1-866-999-5263) specifically for teens in Texas who want birth control, but can’t—or don’t want to—get parental permission.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>\u003ca href=\"https://teafund.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Texas Equal Access Fund\u003c/a>\u003c/b>\u003cbr>\nThe TEA Fund provides both financial and emotional assistance to people in Texas seeking abortion care. People in need of help can text volunteers (1-844-TEA-FUND) for information about available clinics, as well as how to access financial and mental health assistance. In addition, the organization operates a helpline (1-888-854-4852) every Monday and Thursday, 7–10am.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Britney Spears' Father Has Filed a Petition to End Her Conservatorship",
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"content": "\u003cp>Britney Spears’ father filed Tuesday to end the court conservatorship that has controlled the singer’s life and money for 13 years.\u003c/p>\n\u003cp>James Spears filed his petition to terminate the conservatorship in Los Angeles Superior Court.\u003c/p>\n\u003cp>“As Mr. Spears has said again and again, all he wants is what is best for his daughter,” the document says. “If Ms. Spears wants to terminate the conservatorship and believes that she can handle her own life, Mr. Spears believes that she should get that chance.”\u003c/p>\n\u003cp>Judge Brenda Penny, who oversees the case, will need to approve the move.\u003c/p>\n\u003cp>There was no immediate reply to an email seeking comment from Britney Spears’ attorney.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>James Spears had been the target of much of the anger surrounding the conservatorship from both his daughter and the public.\u003c/p>\n\u003cp>A petition from Britney Spears’ attorney to remove him was to be heard at the next hearing in the case on Sept. 29.\u003c/p>\n\u003cp>[aside postid='arts_13899317']James Spears said in a filing on Aug. 12 that he was planning to step down as the conservator of her finances, but offered no timetable. He gave up his control over her life decisions in 2019, keeping only his role overseeing her money.\u003c/p>\n\u003cp>He has repeatedly said there is no justification for his removal, and he has acted only in his daughter’s best interest.\u003c/p>\n\u003cp>The conservatorship was established in 2008 when Britney Spears began to have very public mental struggles as media outlets obsessed over each moment, hordes of paparazzi aggressively followed her everywhere, and she lost custody of her children.\u003c/p>\n\u003cp>Tuesday’s filing cites how Britney Spears’ “impassioned plea” to end the legal arrangement in a June 23 speech in court gave a jolt to those who wanted to see her freed from it, quoting from the transcript of that afternoon.\u003c/p>\n\u003cp>“I just want my life back,” Britney Spears said. “And it’s been 13 years and it’s enough. It’s been a long time since I’ve owned my money. And it’s my wish and my dream for all of this to end without being tested.”\u003c/p>\n\u003cp>Tuesday’s filing notes that Spears said she did not know she could file a petition to end the conservatorship, which she has yet to do. It says that Penny’s decision to allow her to hire her own attorney, Mathew Rosengart, demonstrates that the court trusts her with major choices. And it says evidence shows she has apparently “demonstrated a level of independence” by doing things like driving herself around Southern California.\u003c/p>\n\u003cp>It also cites her desire to make her own decisions on therapy and other medical care.\u003c/p>\n\u003cp>Spears had said in her June 23 speech that she was being compelled under the conservatorship to take certain medications and to use an intrauterine device for birth control against her will.\u003c/p>\n\u003cp>[aside postid='arts_13875370']James Spears called for a court investigation of these and other allegations, saying they were issues that were beyond his control because he had stepped down as conservator of his daughter’s person, handing the role off to court-appointed professional Jodi Montgomery.\u003c/p>\n\u003cp>Rosengart, Britney Spears’ new attorney, said when he was hired in July that he intended to help end the conservatorship, and questioned whether it needed to be established in the first place, though he had not yet filed to terminate it.\u003c/p>\n\u003cp>He said instead that his first priority was getting rid of James Spears, whom he challenged to resign on the spot in his first appearance before the court.\u003c/p>\n\u003cp>Rosengart filed for James Spears’ removal on July 26, alleging he had mismanaged his daughter’s money and affairs, and suggesting he had used the conservatorship for his own gain. The judge denied him an emergency hearing on the matter, saying it could be heard in due course in September.\u003c/p>\n\u003cp>The lawyer said he welcomed James Spears’ indication that he would eventually step down, but said that wouldn’t slow his efforts to remove him.\u003c/p>\n\u003cp>Spears gave the conservatorship’s initial existence credit for keeping her career afloat, though she has now put her work entirely on hold for more than two years.\u003c/p>\n\u003cp>Fans objecting to her circumstances and seeing what they believed were pleas for help in the pop star’s Instagram posts began calling online to #FreeBritney, and began appearing outside her court hearings to protest.\u003c/p>\n\u003cp>Famous names from Miley Cyrus to Britney Spears’ ex Justin Timberlake have joined the outcry in recent months, especially after Spears’ pair of passionate speeches to the court in June and July.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Penny, the judge with the ultimate power over the conservatorship, has not appeared inclined to end it before, but she has also never been presented with such a clear opportunity.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Britney+Spears%27+Father+Has+Filed+A+Petition+To+End+Her+Conservatorship&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Britney Spears’ father filed Tuesday to end the court conservatorship that has controlled the singer’s life and money for 13 years.\u003c/p>\n\u003cp>James Spears filed his petition to terminate the conservatorship in Los Angeles Superior Court.\u003c/p>\n\u003cp>“As Mr. Spears has said again and again, all he wants is what is best for his daughter,” the document says. “If Ms. Spears wants to terminate the conservatorship and believes that she can handle her own life, Mr. Spears believes that she should get that chance.”\u003c/p>\n\u003cp>Judge Brenda Penny, who oversees the case, will need to approve the move.\u003c/p>\n\u003cp>There was no immediate reply to an email seeking comment from Britney Spears’ attorney.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>James Spears said in a filing on Aug. 12 that he was planning to step down as the conservator of her finances, but offered no timetable. He gave up his control over her life decisions in 2019, keeping only his role overseeing her money.\u003c/p>\n\u003cp>He has repeatedly said there is no justification for his removal, and he has acted only in his daughter’s best interest.\u003c/p>\n\u003cp>The conservatorship was established in 2008 when Britney Spears began to have very public mental struggles as media outlets obsessed over each moment, hordes of paparazzi aggressively followed her everywhere, and she lost custody of her children.\u003c/p>\n\u003cp>Tuesday’s filing cites how Britney Spears’ “impassioned plea” to end the legal arrangement in a June 23 speech in court gave a jolt to those who wanted to see her freed from it, quoting from the transcript of that afternoon.\u003c/p>\n\u003cp>“I just want my life back,” Britney Spears said. “And it’s been 13 years and it’s enough. It’s been a long time since I’ve owned my money. And it’s my wish and my dream for all of this to end without being tested.”\u003c/p>\n\u003cp>Tuesday’s filing notes that Spears said she did not know she could file a petition to end the conservatorship, which she has yet to do. It says that Penny’s decision to allow her to hire her own attorney, Mathew Rosengart, demonstrates that the court trusts her with major choices. And it says evidence shows she has apparently “demonstrated a level of independence” by doing things like driving herself around Southern California.\u003c/p>\n\u003cp>It also cites her desire to make her own decisions on therapy and other medical care.\u003c/p>\n\u003cp>Spears had said in her June 23 speech that she was being compelled under the conservatorship to take certain medications and to use an intrauterine device for birth control against her will.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>James Spears called for a court investigation of these and other allegations, saying they were issues that were beyond his control because he had stepped down as conservator of his daughter’s person, handing the role off to court-appointed professional Jodi Montgomery.\u003c/p>\n\u003cp>Rosengart, Britney Spears’ new attorney, said when he was hired in July that he intended to help end the conservatorship, and questioned whether it needed to be established in the first place, though he had not yet filed to terminate it.\u003c/p>\n\u003cp>He said instead that his first priority was getting rid of James Spears, whom he challenged to resign on the spot in his first appearance before the court.\u003c/p>\n\u003cp>Rosengart filed for James Spears’ removal on July 26, alleging he had mismanaged his daughter’s money and affairs, and suggesting he had used the conservatorship for his own gain. The judge denied him an emergency hearing on the matter, saying it could be heard in due course in September.\u003c/p>\n\u003cp>The lawyer said he welcomed James Spears’ indication that he would eventually step down, but said that wouldn’t slow his efforts to remove him.\u003c/p>\n\u003cp>Spears gave the conservatorship’s initial existence credit for keeping her career afloat, though she has now put her work entirely on hold for more than two years.\u003c/p>\n\u003cp>Fans objecting to her circumstances and seeing what they believed were pleas for help in the pop star’s Instagram posts began calling online to #FreeBritney, and began appearing outside her court hearings to protest.\u003c/p>\n\u003cp>Famous names from Miley Cyrus to Britney Spears’ ex Justin Timberlake have joined the outcry in recent months, especially after Spears’ pair of passionate speeches to the court in June and July.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Penny, the judge with the ultimate power over the conservatorship, has not appeared inclined to end it before, but she has also never been presented with such a clear opportunity.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Britney+Spears%27+Father+Has+Filed+A+Petition+To+End+Her+Conservatorship&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "shang-chi-bus-fight-chase-muni-chinatown-san-francisco",
"title": "In ‘Shang-Chi,’ a Muni Line Made Possible by Chinatown Community Advocacy",
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"headTitle": "In ‘Shang-Chi,’ a Muni Line Made Possible by Chinatown Community Advocacy | KQED",
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"content": "\u003cp>Sure, Marvel’s newest superhero flick, \u003cem>Shang-Chi and the Legend of the Ten Rings\u003c/em>, impresses with its high-flying martial arts fight scenes, the usual show-stopping, Disney-caliber visual effects, and a groundbreaking Asian superhero taking center stage.\u003c/p>\n\u003cp>But for advocates in San Francisco’s Chinese community, the movie’s trailer perked up eyebrows for a totally different reason.\u003c/p>\n\u003cp>That San Francisco Muni bus—now \u003cem>that\u003c/em> was a show-stopper.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>No, I’m not kidding. The 1-California line, in fact, plays the leading role in a key scene that early reviews have called the \u003ca href=\"https://datebook.sfchronicle.com/movies-tv/review-shang-chi-and-its-s-f-bus-chase-make-good-transfer-to-marvel-universe\" target=\"_blank\" rel=\"noopener noreferrer\">second-best San Francisco car chase of all time\u003c/a>. As Shang-Chi (Simu Liu) lands artfully thrown fists against his attackers on Muni, the bus careens through San Francisco, moving faster than any Muni bus has before, from the Stockton Street Tunnel, through Chinatown, to Ghirardelli Square.\u003c/p>\n\u003cp>The 1-California carries more than just passengers gawking at superheroes in Marvel blockbusters, though. It carries the history and legacy of San Francisco’s Chinese community, its advocacy, and its perseverance.\u003c/p>\n\u003cp>That is, if you know the history.\u003c/p>\n\u003ch3>A Chinatown Connector\u003c/h3>\n\u003cp>Community advocacy wasn’t quite the first thing that Queena Chen noticed when she first saw the \u003cem>Shang-Chi\u003c/em> trailer—even with her role as co-chair of the Chinatown Transportation Research and Improvement Project (TRIP).\u003c/p>\n\u003cfigure id=\"attachment_13902483\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13902483\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/M1383_1-1-1020x1479.jpg\" alt=\"\" width=\"640\" height=\"928\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-1020x1479.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-800x1160.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-768x1114.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-1059x1536.jpg 1059w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-1412x2048.jpg 1412w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-scaled.jpg 1766w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">55-Sacramento bus line on Sacramento Street at Grant Avenue looking east | September 18, 1972 \u003ccite>(SFMTA Photo | SFMTA.com/Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chen, 32, was watching her year-old daughter playing in her room when she first took a peek, excited to see a movie with more Asian representation. She remembers thinking that the Muni bus traveled far too quickly from the Stockton Street Tunnel to Ghirardelli Square, “and I’m pretty sure the 1-California is off route.”\u003c/p>\n\u003cp>You know, regular Muni stuff.\u003c/p>\n\u003cp>But at the next meeting of Chinatown TRIP, her colleagues were all aflutter: the \u003cem>Shang-Chi\u003c/em> bus routes were ones their organizations’ founders had fought for in the 1970s and 1990s. The trailer even showed tunnel safety improvements they’d fought for, as well.\u003c/p>\n\u003cp>These Muni connections trace back to the flourishing of the Chinese community in San Francisco, following the repeal of exclusionary racist laws. With new communities came new transportation routes, fought for through advocacy, and established to keep Chinese Americans in touch with their heritage in Chinatown, just a short bus ride away.\u003c/p>\n\u003cfigure id=\"attachment_13902473\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902473\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/0012-muni-800x589.jpg\" alt=\"\" width=\"800\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0012-muni-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0012-muni-1020x751.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0012-muni-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0012-muni-768x565.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0012-muni-1536x1130.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0012-muni.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Muni bus ride in the 1990s. \u003ccite>(Photo courtesy Chinatown TRIP.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was significant because the superheroes of TRIP had fought for all those things,” Chen tells KQED. While Chen says she’d always heard bits and pieces of the old stories about lobbying for different bus lines, “I didn’t know the fights and struggles they went through to get Chinatown connected to other neighborhoods.”\u003c/p>\n\u003ch3>Citywide Community\u003c/h3>\n\u003cp>While drumming up fear over Chinese labor competition, local politicians passed the Chinese Exclusion Act in 1882, which banned new Chinese immigrants from entering the country. The act’s repeal in 1943 still came with restrictions, as the number of new immigrants was severely limited by an annual cap.\u003c/p>\n\u003cp>That all changed in 1965 with the passage of the 1965 Immigration and Nationality Act, which abolished the national-origins quota law. As Chinese immigration began to rise again in San Francisco, housing restrictions across San Francisco were lifted, says Pam Wong, deputy director of the Chinese Historical Society of America.\u003c/p>\n\u003cp>“Because of this, the Chinese population in San Francisco grew out of Chinatown,” Wong says.[pullquote size=\"medium\" align=\"right\" citation=\"Phil Chin, Chinatown TRIP co-founder\"]‘What we need is for the (San Francisco Municipal Transportation Agency) to provide full-service levels and to ensure true safety on every single one of their trains and buses.’[/pullquote]\u003c/p>\n\u003cp>In the ’60s and ’70s, Visitacion Valley, the Richmond District, the Sunset District, the Excelsior and the Bayview all blossomed with their own Chinese communities. But Chinatown remained the social, political and shopping hub for Chinese Americans in San Francisco, including those living in other neighborhoods across the city.\u003c/p>\n\u003cp>“The cultural traditions of food, Chinese traditional medicine—those were still very important to these families,” Wong says. “So going back to Chinatown, where these resources were centered, was a way to stay connected to their cultural heritage.”\u003c/p>\n\u003cp>And to get there, many would take Muni.\u003c/p>\n\u003cp>Bus service wasn’t perfect in Chinatown, but Muni was a bit forward-thinking, at least. In 1976, an engineering findings team made their first proposals to improve Chinatown service. But their concepts of how to do so clashed with the residents’ views of what buses they needed.\u003c/p>\n\u003cp>(“It still stands true today,” says Chen. “We have planners telling residents of Chinatown what they need but they don’t go out and actually see what’s happening.”)\u003c/p>\n\u003cp>Cue the Chinatown Transportation Research and Improvement Project.\u003c/p>\n\u003cfigure id=\"attachment_13902478\" class=\"wp-caption alignnone\" style=\"max-width: 1460px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902478\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/0031.jpg\" alt=\"\" width=\"1460\" height=\"1032\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0031.jpg 1460w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0031-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0031-1020x721.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0031-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0031-768x543.jpg 768w\" sizes=\"(max-width: 1460px) 100vw, 1460px\">\u003cfigcaption class=\"wp-caption-text\">A transit-focused community meeting at Cameron House in the late 1980s or early 1990s. Left, Michael Louie, right, Phil Chin. \u003ccite>(Photo courtesy Chinatown TRIP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chinatown TRIP became one of a bevy of San Francisco advocacy groups—like the Asian Law Caucus, Chinese for Affirmative Action, and the Chinese Progressive Association—that sprung from the civil rights era, when the fight for Black equality stirred the hearts and charted the careers of Asian American advocates.\u003c/p>\n\u003cp>Chinatown TRIP lobbied Muni for a new bus line catered directly to Chinatown and the people who frequented it. Some involved had a direct tie to both the community and Muni, like Phil Chin, one of the group’s founders. Now in his 70s, Chin was once a bus driver himself, and his experience behind the wheel in his own community helped inform the organization’s advocacy at its inception.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13903050,arts_13902814,arts_13902724,arts_13906142']\u003c/span>\u003c/p>\n\u003cp>(Even today, Chin wants bus service to improve. “It’s great that we have superheroes to inspire us as we strive to improve, but superheroes are all make-believe,” Chin says. “What we need is for the [San Francisco Municipal Transportation Agency] to provide full-service levels and to ensure true safety on every single one of their trains and buses.”)\u003c/p>\n\u003cp>Finally, in 1978, two years after TRIP’s effort began, Muni christened the 82-Chinatown, a wholly new bus line meant to ease crushing crowds on the 30-Stockton for Chinatown commuters. It launched with a small ceremony at Washington Square Park, replete with acrobatic lion dancers and “good luck” fireworks.\u003c/p>\n\u003cp>Then-San Francisco Mayor George Moscone attended the inauguration. Chin did, too.\u003c/p>\n\u003cfigure id=\"attachment_13902475\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902475\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/1978-82-Line.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/1978-82-Line.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/1978-82-Line-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/1978-82-Line-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/1978-82-Line-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/1978-82-Line-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/1978-82-Line-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A Muni bus advertisement talks up the ‘new’ 82-Chinatown line. \u003ccite>(Photo courtesy Chinatown TRIP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Martial-Arts Muni\u003c/h3>\n\u003cp>So what does this all have to do with \u003cem>Shang-Chi\u003c/em>?\u003c/p>\n\u003cp>Fast-forward 40-plus years, and the 1-California bus in \u003cem>Shang-Chi\u003c/em> travels the same route the 82-Chinatown traveled, right through the Stockton Street Tunnel. The 82-Chinatown traveled this route, advocated for by the community, for years, before being folded into the expanded service of the 30-Stockton and 45-Union lines. (It should be clarified that the 1-California’s \u003cem>actual \u003c/em>route is far different than the one shown in the movie, taking it up Sacramento street, much like the famous \u003cem>Bullitt\u003c/em> car-chase scene \u003ca href=\"https://projects.sfchronicle.com/2020/movie-car-chases/\">doesn’t follow real San Francisco geography\u003c/a>.)\u003c/p>\n\u003cp>Transportation gets taken for granted, Chen says. But “it brings you to places for stability or to a job. It could bring you economic opportunities that you probably won’t have for folks who live in lower-income areas, for the kids going to school.”\u003c/p>\n\u003cp>Chen adds: “I think when people think of transit, they think it’s only going to point A to point B, but for me, it’s really about opportunity, right?”\u003c/p>\n\u003cp>It’s that ethos that emboldens TRIP’s advocacy, and helps embolden other groups like the Chinatown Community Development Center and Self-Help for the Elderly. It also brings us even more ties to \u003cem>Shang-Chi\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13902477\" class=\"wp-caption alignnone\" style=\"max-width: 2463px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902477\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/0008-55-line.jpg\" alt=\"\" width=\"2463\" height=\"1449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line.jpg 2463w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-800x471.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-1020x600.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-768x452.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-1536x904.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-2048x1205.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-1920x1130.jpg 1920w\" sizes=\"(max-width: 2463px) 100vw, 2463px\">\u003cfigcaption class=\"wp-caption-text\">A 55-Sacramento bus tackles a San Francisco hill, with passengers waiting beside it. \u003ccite>(Photo courtesy Chinatown TRIP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Going back to the years when it was known as the 55-Sacramento line, the 1-California bus line that Shang-Chi rides in the movie has long been a way for Chinese residents of the Richmond District to shuttle into Chinatown—part of that spread of the community to other neighborhoods, jump-started in the 1960s.\u003c/p>\n\u003cp>But in the 1980s, the motor coaches on the 1-California line were so sluggish that when they got too crowded, they’d slow down on the steep slopes of Nob Hill. Passengers would have to hop off the bus, let the bus finish the hill, and walk up to catch up with it.\u003c/p>\n\u003cp>Chinatown TRIP successfully fought for the route to become an electric one, replete with “bunny ear” poles, to ensure those buses got where they were going.\u003c/p>\n\u003cp>Also in the 1980s, the Stockton Street Tunnel that Shang-Chi rides through on the 1-California bus was—if you can believe it—an even more dark and dangerous place than it is today, and the site of a pedestrian death that shook local residents.\u003c/p>\n\u003cp>“An auto had lost control and ended up on the sidewalk pinning the pedestrian against the wall,” recalls Landy Dong, another Chinatown TRIP founder (and former Muni driver).\u003c/p>\n\u003cp>While many locals and tourists know the historic, ornate Dragon’s Gate to Chinatown on Grant Avenue, the most-used portal to Chinatown by locals is the Stockton Street Tunnel. Even to this day, it’s frequently used by Chinatown shoppers to walk south, toward downtown, to catch a connecting bus to take them elsewhere in the city. That death spurred advocates to ensure safety for their community.\u003c/p>\n\u003cfigure id=\"attachment_13902484\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13902484\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/X2434_1-1-1020x817.jpg\" alt=\"\" width=\"640\" height=\"513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/X2434_1-1-1020x817.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/X2434_1-1-800x641.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/X2434_1-1-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/X2434_1-1-768x615.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/X2434_1-1-1536x1230.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/X2434_1-1.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Street lighting in Stockton Street Tunnel, looking north at tunnel entrance below Bush Street | August 3, 1950 \u003ccite>(SFMTA Photo | SFMTA.com/Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902479\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13902479\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/ShangChi.Tunnel-1020x510.jpg\" alt=\"\" width=\"640\" height=\"320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel-1536x768.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel-1920x960.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel.jpg 2000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Shang-Chi (Simu Liu) gets ready to fight on a Muni bus going through the Stockton Street Tunnel. \u003ccite>(Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So in 1982, Chinatown TRIP pushed the city to apply for a $200,000 federal grant for safety rails, new lighting, and waterproofing, which was completed in 1984.\u003c/p>\n\u003cp>This all may seem like dry infrastructure history. But between the tunnel improvements, new routes, electric enhancements and openings attended by the mayor, these transportation advocates helped connect San Francisco’s outlying Chinese communities with Chinatown. They helped weave together their community.\u003c/p>\n\u003cp>And, watching \u003cem>Shang-Chi\u003c/em> on the big screen, all these changes and more flash through their minds when they see an Asian superhero fighting through San Francisco—much the same way they fought for transportation justice.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cem>‘Shang-Chi and the Legend of the Ten Rings’ is in theaters now. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "With Marvel’s famous bus chase in theaters, we revisit the community fight behind the 1-California and other Chinatown bus lines.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sure, Marvel’s newest superhero flick, \u003cem>Shang-Chi and the Legend of the Ten Rings\u003c/em>, impresses with its high-flying martial arts fight scenes, the usual show-stopping, Disney-caliber visual effects, and a groundbreaking Asian superhero taking center stage.\u003c/p>\n\u003cp>But for advocates in San Francisco’s Chinese community, the movie’s trailer perked up eyebrows for a totally different reason.\u003c/p>\n\u003cp>That San Francisco Muni bus—now \u003cem>that\u003c/em> was a show-stopper.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>No, I’m not kidding. The 1-California line, in fact, plays the leading role in a key scene that early reviews have called the \u003ca href=\"https://datebook.sfchronicle.com/movies-tv/review-shang-chi-and-its-s-f-bus-chase-make-good-transfer-to-marvel-universe\" target=\"_blank\" rel=\"noopener noreferrer\">second-best San Francisco car chase of all time\u003c/a>. As Shang-Chi (Simu Liu) lands artfully thrown fists against his attackers on Muni, the bus careens through San Francisco, moving faster than any Muni bus has before, from the Stockton Street Tunnel, through Chinatown, to Ghirardelli Square.\u003c/p>\n\u003cp>The 1-California carries more than just passengers gawking at superheroes in Marvel blockbusters, though. It carries the history and legacy of San Francisco’s Chinese community, its advocacy, and its perseverance.\u003c/p>\n\u003cp>That is, if you know the history.\u003c/p>\n\u003ch3>A Chinatown Connector\u003c/h3>\n\u003cp>Community advocacy wasn’t quite the first thing that Queena Chen noticed when she first saw the \u003cem>Shang-Chi\u003c/em> trailer—even with her role as co-chair of the Chinatown Transportation Research and Improvement Project (TRIP).\u003c/p>\n\u003cfigure id=\"attachment_13902483\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13902483\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/M1383_1-1-1020x1479.jpg\" alt=\"\" width=\"640\" height=\"928\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-1020x1479.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-800x1160.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-768x1114.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-1059x1536.jpg 1059w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-1412x2048.jpg 1412w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/M1383_1-1-scaled.jpg 1766w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">55-Sacramento bus line on Sacramento Street at Grant Avenue looking east | September 18, 1972 \u003ccite>(SFMTA Photo | SFMTA.com/Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chen, 32, was watching her year-old daughter playing in her room when she first took a peek, excited to see a movie with more Asian representation. She remembers thinking that the Muni bus traveled far too quickly from the Stockton Street Tunnel to Ghirardelli Square, “and I’m pretty sure the 1-California is off route.”\u003c/p>\n\u003cp>You know, regular Muni stuff.\u003c/p>\n\u003cp>But at the next meeting of Chinatown TRIP, her colleagues were all aflutter: the \u003cem>Shang-Chi\u003c/em> bus routes were ones their organizations’ founders had fought for in the 1970s and 1990s. The trailer even showed tunnel safety improvements they’d fought for, as well.\u003c/p>\n\u003cp>These Muni connections trace back to the flourishing of the Chinese community in San Francisco, following the repeal of exclusionary racist laws. With new communities came new transportation routes, fought for through advocacy, and established to keep Chinese Americans in touch with their heritage in Chinatown, just a short bus ride away.\u003c/p>\n\u003cfigure id=\"attachment_13902473\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902473\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/0012-muni-800x589.jpg\" alt=\"\" width=\"800\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0012-muni-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0012-muni-1020x751.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0012-muni-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0012-muni-768x565.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0012-muni-1536x1130.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0012-muni.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Muni bus ride in the 1990s. \u003ccite>(Photo courtesy Chinatown TRIP.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was significant because the superheroes of TRIP had fought for all those things,” Chen tells KQED. While Chen says she’d always heard bits and pieces of the old stories about lobbying for different bus lines, “I didn’t know the fights and struggles they went through to get Chinatown connected to other neighborhoods.”\u003c/p>\n\u003ch3>Citywide Community\u003c/h3>\n\u003cp>While drumming up fear over Chinese labor competition, local politicians passed the Chinese Exclusion Act in 1882, which banned new Chinese immigrants from entering the country. The act’s repeal in 1943 still came with restrictions, as the number of new immigrants was severely limited by an annual cap.\u003c/p>\n\u003cp>That all changed in 1965 with the passage of the 1965 Immigration and Nationality Act, which abolished the national-origins quota law. As Chinese immigration began to rise again in San Francisco, housing restrictions across San Francisco were lifted, says Pam Wong, deputy director of the Chinese Historical Society of America.\u003c/p>\n\u003cp>“Because of this, the Chinese population in San Francisco grew out of Chinatown,” Wong says.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the ’60s and ’70s, Visitacion Valley, the Richmond District, the Sunset District, the Excelsior and the Bayview all blossomed with their own Chinese communities. But Chinatown remained the social, political and shopping hub for Chinese Americans in San Francisco, including those living in other neighborhoods across the city.\u003c/p>\n\u003cp>“The cultural traditions of food, Chinese traditional medicine—those were still very important to these families,” Wong says. “So going back to Chinatown, where these resources were centered, was a way to stay connected to their cultural heritage.”\u003c/p>\n\u003cp>And to get there, many would take Muni.\u003c/p>\n\u003cp>Bus service wasn’t perfect in Chinatown, but Muni was a bit forward-thinking, at least. In 1976, an engineering findings team made their first proposals to improve Chinatown service. But their concepts of how to do so clashed with the residents’ views of what buses they needed.\u003c/p>\n\u003cp>(“It still stands true today,” says Chen. “We have planners telling residents of Chinatown what they need but they don’t go out and actually see what’s happening.”)\u003c/p>\n\u003cp>Cue the Chinatown Transportation Research and Improvement Project.\u003c/p>\n\u003cfigure id=\"attachment_13902478\" class=\"wp-caption alignnone\" style=\"max-width: 1460px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902478\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/0031.jpg\" alt=\"\" width=\"1460\" height=\"1032\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0031.jpg 1460w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0031-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0031-1020x721.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0031-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0031-768x543.jpg 768w\" sizes=\"(max-width: 1460px) 100vw, 1460px\">\u003cfigcaption class=\"wp-caption-text\">A transit-focused community meeting at Cameron House in the late 1980s or early 1990s. Left, Michael Louie, right, Phil Chin. \u003ccite>(Photo courtesy Chinatown TRIP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chinatown TRIP became one of a bevy of San Francisco advocacy groups—like the Asian Law Caucus, Chinese for Affirmative Action, and the Chinese Progressive Association—that sprung from the civil rights era, when the fight for Black equality stirred the hearts and charted the careers of Asian American advocates.\u003c/p>\n\u003cp>Chinatown TRIP lobbied Muni for a new bus line catered directly to Chinatown and the people who frequented it. Some involved had a direct tie to both the community and Muni, like Phil Chin, one of the group’s founders. Now in his 70s, Chin was once a bus driver himself, and his experience behind the wheel in his own community helped inform the organization’s advocacy at its inception.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>(Even today, Chin wants bus service to improve. “It’s great that we have superheroes to inspire us as we strive to improve, but superheroes are all make-believe,” Chin says. “What we need is for the [San Francisco Municipal Transportation Agency] to provide full-service levels and to ensure true safety on every single one of their trains and buses.”)\u003c/p>\n\u003cp>Finally, in 1978, two years after TRIP’s effort began, Muni christened the 82-Chinatown, a wholly new bus line meant to ease crushing crowds on the 30-Stockton for Chinatown commuters. It launched with a small ceremony at Washington Square Park, replete with acrobatic lion dancers and “good luck” fireworks.\u003c/p>\n\u003cp>Then-San Francisco Mayor George Moscone attended the inauguration. Chin did, too.\u003c/p>\n\u003cfigure id=\"attachment_13902475\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902475\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/1978-82-Line.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/1978-82-Line.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/1978-82-Line-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/1978-82-Line-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/1978-82-Line-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/1978-82-Line-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/1978-82-Line-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A Muni bus advertisement talks up the ‘new’ 82-Chinatown line. \u003ccite>(Photo courtesy Chinatown TRIP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Martial-Arts Muni\u003c/h3>\n\u003cp>So what does this all have to do with \u003cem>Shang-Chi\u003c/em>?\u003c/p>\n\u003cp>Fast-forward 40-plus years, and the 1-California bus in \u003cem>Shang-Chi\u003c/em> travels the same route the 82-Chinatown traveled, right through the Stockton Street Tunnel. The 82-Chinatown traveled this route, advocated for by the community, for years, before being folded into the expanded service of the 30-Stockton and 45-Union lines. (It should be clarified that the 1-California’s \u003cem>actual \u003c/em>route is far different than the one shown in the movie, taking it up Sacramento street, much like the famous \u003cem>Bullitt\u003c/em> car-chase scene \u003ca href=\"https://projects.sfchronicle.com/2020/movie-car-chases/\">doesn’t follow real San Francisco geography\u003c/a>.)\u003c/p>\n\u003cp>Transportation gets taken for granted, Chen says. But “it brings you to places for stability or to a job. It could bring you economic opportunities that you probably won’t have for folks who live in lower-income areas, for the kids going to school.”\u003c/p>\n\u003cp>Chen adds: “I think when people think of transit, they think it’s only going to point A to point B, but for me, it’s really about opportunity, right?”\u003c/p>\n\u003cp>It’s that ethos that emboldens TRIP’s advocacy, and helps embolden other groups like the Chinatown Community Development Center and Self-Help for the Elderly. It also brings us even more ties to \u003cem>Shang-Chi\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13902477\" class=\"wp-caption alignnone\" style=\"max-width: 2463px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902477\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/0008-55-line.jpg\" alt=\"\" width=\"2463\" height=\"1449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line.jpg 2463w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-800x471.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-1020x600.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-768x452.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-1536x904.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-2048x1205.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/0008-55-line-1920x1130.jpg 1920w\" sizes=\"(max-width: 2463px) 100vw, 2463px\">\u003cfigcaption class=\"wp-caption-text\">A 55-Sacramento bus tackles a San Francisco hill, with passengers waiting beside it. \u003ccite>(Photo courtesy Chinatown TRIP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Going back to the years when it was known as the 55-Sacramento line, the 1-California bus line that Shang-Chi rides in the movie has long been a way for Chinese residents of the Richmond District to shuttle into Chinatown—part of that spread of the community to other neighborhoods, jump-started in the 1960s.\u003c/p>\n\u003cp>But in the 1980s, the motor coaches on the 1-California line were so sluggish that when they got too crowded, they’d slow down on the steep slopes of Nob Hill. Passengers would have to hop off the bus, let the bus finish the hill, and walk up to catch up with it.\u003c/p>\n\u003cp>Chinatown TRIP successfully fought for the route to become an electric one, replete with “bunny ear” poles, to ensure those buses got where they were going.\u003c/p>\n\u003cp>Also in the 1980s, the Stockton Street Tunnel that Shang-Chi rides through on the 1-California bus was—if you can believe it—an even more dark and dangerous place than it is today, and the site of a pedestrian death that shook local residents.\u003c/p>\n\u003cp>“An auto had lost control and ended up on the sidewalk pinning the pedestrian against the wall,” recalls Landy Dong, another Chinatown TRIP founder (and former Muni driver).\u003c/p>\n\u003cp>While many locals and tourists know the historic, ornate Dragon’s Gate to Chinatown on Grant Avenue, the most-used portal to Chinatown by locals is the Stockton Street Tunnel. Even to this day, it’s frequently used by Chinatown shoppers to walk south, toward downtown, to catch a connecting bus to take them elsewhere in the city. That death spurred advocates to ensure safety for their community.\u003c/p>\n\u003cfigure id=\"attachment_13902484\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13902484\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/X2434_1-1-1020x817.jpg\" alt=\"\" width=\"640\" height=\"513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/X2434_1-1-1020x817.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/X2434_1-1-800x641.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/X2434_1-1-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/X2434_1-1-768x615.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/X2434_1-1-1536x1230.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/X2434_1-1.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Street lighting in Stockton Street Tunnel, looking north at tunnel entrance below Bush Street | August 3, 1950 \u003ccite>(SFMTA Photo | SFMTA.com/Photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13902479\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13902479\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/ShangChi.Tunnel-1020x510.jpg\" alt=\"\" width=\"640\" height=\"320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel-1536x768.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel-1920x960.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/ShangChi.Tunnel.jpg 2000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Shang-Chi (Simu Liu) gets ready to fight on a Muni bus going through the Stockton Street Tunnel. \u003ccite>(Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So in 1982, Chinatown TRIP pushed the city to apply for a $200,000 federal grant for safety rails, new lighting, and waterproofing, which was completed in 1984.\u003c/p>\n\u003cp>This all may seem like dry infrastructure history. But between the tunnel improvements, new routes, electric enhancements and openings attended by the mayor, these transportation advocates helped connect San Francisco’s outlying Chinese communities with Chinatown. They helped weave together their community.\u003c/p>\n\u003cp>And, watching \u003cem>Shang-Chi\u003c/em> on the big screen, all these changes and more flash through their minds when they see an Asian superhero fighting through San Francisco—much the same way they fought for transportation justice.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cem>‘Shang-Chi and the Legend of the Ten Rings’ is in theaters now. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Preserving the Plant was set to debut this July as the first cannabis fair of its kind in Oakland. Event organizer Edward Brown, an advocate for making the cannabis industry equitable for Black and brown communities harmed by the War on Drugs, worked for two years to ensure his vendor market and festival would have the proper permits, insurance, security and COVID protocols to make it a success.\u003c/p>\n\u003cp>Greg Minor, head of Oakland’s Special Activity Permit Division, had been in communication with Brown throughout the planning process. But Minor didn’t forewarn him that he’d owe the Oakland Police Department money for security fees, Brown says. Three nights before Preserving the Plant was supposed to take place on July 24, Brown recalls getting a surprise email at around 11pm stating that he’d have to pay OPD $6,634 to get his permit.\u003c/p>\n\u003cp>“There was no way we [could have] come up with that money without somebody taking out a loan,” says Brown. He postponed the event to later this fall because of the high OPD fee; COVID concerns also played a role. “It was extremely frustrating. It felt like we were sabotaged. I followed every single rule that the city asked me to, and the state as well, being compliant and turning in things [on time].”\u003c/p>\n\u003cp>Now, Brown has joined dozens of event presenters calling on the city of Oakland to change its special events policy to eliminate some of these high costs and bureaucratic hurdles. In 2020, the city council unanimously approved a resolution to put the city administrator’s office in charge of special event permits and hiring security instead of police. But city staff, who say they were waylaid by the more pressing needs of the pandemic, still haven’t changed the policy.\u003c/p>\n\u003cp>Critics of the current policy are frustrated: In the years prior to the pandemic, Oakland used as much as 84% of its festivals and fairs fund to pay the police department for security instead of directly supporting artists and cultural institutions. This police-led permitting system is cost-prohibitive and inequitable, critics say. They argue it hurts opportunities for artists and small businesses, hampers Oakland’s tourism industry and slows recovery from pandemic restrictions. Now, government leaders, artists and promoters alike are calling for a more transparent, affordable system for throwing festivals, fairs and block parties, all of which are vital for the city’s culture, economy and community relationships.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Preserving the Plant isn’t the only recent event organizers canceled because of high OPD fees. Oakland’s First Fridays art walk had to skip its entire summer season because OPD wanted to charge presenters $24,000 per event.\u003c/p>\n\u003cp>“It’s just disappointing,” says First Friday organizer Shari Godinez, who serves as the executive director of neighborhood merchants association Koreatown Northgate Community Benefit District. “If the city does want to support the arts and culture and revitalizing business in the city, they would support First Friday.” [aside postid='arts_13899431']\u003c/p>\n\u003cp>First Fridays are a big economic driver for Oakland. The street fair typically draws tens of thousands of attendees and boosts revenues in the area by as much as 250%, Godinez says. After its cancellation generated media attention and public outcry, event organizers were able to secure a comeback date in October. Godinez says she met with Oakland Police Chief LeRonne Armstrong, and Armstrong agreed to reduce OPD’s security fees to around $10,000. With the help of City Councilmember At-Large Rebecca Kaplan, Godinez found a corporate sponsor, DoorDash, to cover the cost for October.\u003c/p>\n\u003cp>But this isn’t a sustainable strategy for the long term, nor is it an accessible pathway for less-established event organizers with no connections in city government. “We can’t take that expense on every month, it just isn’t feasible,” Godinez says.\u003c/p>\n\u003cfigure id=\"attachment_13902366\" class=\"wp-caption aligncenter\" style=\"max-width: 1560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/202001-Oakff-AliciaRodriguez-082-1.jpg\" alt=\"Women laugh and smile at a street fair in Oakland.\" width=\"1560\" height=\"1067\" class=\"size-full wp-image-13902366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/202001-Oakff-AliciaRodriguez-082-1.jpg 1560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/202001-Oakff-AliciaRodriguez-082-1-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/202001-Oakff-AliciaRodriguez-082-1-1020x698.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/202001-Oakff-AliciaRodriguez-082-1-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/202001-Oakff-AliciaRodriguez-082-1-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/202001-Oakff-AliciaRodriguez-082-1-1536x1051.jpg 1536w\" sizes=\"(max-width: 1560px) 100vw, 1560px\">\u003cfigcaption class=\"wp-caption-text\">Festival-goers attend First Friday in January 2020. \u003ccite>(Oakland First Fridays/\u003ca href=\"https://www.aliciarphoto.com/\" target=\"_blank\">Alicia Rodriguez\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Dysfunctional System Shuts Down Community Events\u003c/h2>\n\u003cp>Event presenters and city officials have long argued that Oakland’s current system for special events isn’t working. The Oakland Police Department decides how many officers to send to an event and sets its own price for security fees. It’s impossible for a festival organizer to obtain a permit without paying whatever amount OPD determines, sometimes with only a day’s notice. That means the costs to presenters can seem arbitrary and unpredictable, ranging anywhere from hundreds of dollars to the $24,000 initially required of First Fridays.\u003c/p>\n\u003cp>Many Oakland street fairs and block parties are free to the public and don’t have major corporate sponsors, so surprise fees can force organizers to cancel their events or make difficult decisions, such as not paying performers or taking on debt. Short of reaching out to city councilmembers to intervene, there’s no formal process for appealing OPD’s decisions.\u003c/p>\n\u003cp>[pullquote citation='Shari Godinez, First Fridays organizer' size='large']‘We can’t take that expense on every month, it just isn’t feasible.’[/pullquote]\u003c/p>\n\u003cp>For Brown, postponing Preserving the Plant meant losing hundreds of dollars on top of dealing with complicated logistics. “We had to pay off the band,” says Brown, adding that he had to find a new headliner because the original act couldn’t reschedule.\u003c/p>\n\u003cp>OPD has no publicly available policy that explains how security fees are determined, and did not return KQED’s request for comment.\u003c/p>\n\u003cp>“In order to not reduce resources needed to respond to critical public safety services (i.e., 911 calls, Ceasefire, violent crimes, etc.), these events are staffed with police officers working overtime,” explains Harry Hamilton of Oakland’s Economic & Workforce Development Department.\u003c/p>\n\u003cp>But critics say therein lies the problem. “We are wasting very expensive police officers on duties that have nothing to do with fighting guns or fighting violent crime,” says Councilmember Kaplan, who proposed a 2020 resolution to transfer special events permits from OPD to city staff.\u003c/p>\n\u003cp>Under the current system, officers are tasked with processing paperwork and directing traffic in addition to doing security. “And we are tripling the costs of community events for no benefit,” Kaplan adds.\u003c/p>\n\u003cp>[pullquote citation='Edward Brown, cannabis equity advocate and event organizer' size='large']‘There was no way we [could have] come up with that money without somebody taking out a loan.’[/pullquote]\u003c/p>\n\u003cp>Kaplan says police fees almost forced the city to shut down a voting site at the Oakland Coliseum during the November 2020 election. “It came within minutes of not happening because the Oakland Police Department was trying to shake them down for many, many tens of thousands of dollars under the theory that this was a special event,” she says, adding that OPD reduced costs after some “high-level people intervened.”\u003c/p>\n\u003cp>For years, civil rights advocates, artists and event promoters have accused the Oakland Police Department of deploying its special events policy in racist ways, ramping up costs for events with Black artists and audiences. In 2017, an \u003cem>East Bay Express\u003c/em> report described a pattern of \u003ca href=\"https://eastbayexpress.com/blacklisted-how-the-oakland-police-department-discriminates-against-rappers-and-music-venues-2-1/\" target=\"_blank\" rel=\"noopener noreferrer\">OPD using security fees to effectively shut down rap concerts\u003c/a>. “OPD knows they’re infringing on these artists’ right to perform,” San Francisco attorney John Hamasaki alleged at the time.\u003c/p>\n\u003cp>Kaplan says that pattern has persisted, and that organizers have complained OPD is abusing the system. “There have been complaints that it’s been disproportionately used against Black community events,” she says. “And I think there’s a lot of history that supports that claim. … The system is inherently a setup for failure.”\u003c/p>\n\u003ch2>Funding Earmarked for Arts Goes to Police\u003c/h2>\n\u003cp>While Oakland budgets money in each fiscal year to support the arts, most of its festivals and fairs fund ends up going to the police department instead of artists or cultural organizations, city data shows.\u003c/p>\n\u003cp>A breakdown of Oakland’s festivals and fairs fund, which the Economic & Workforce Development Department provided to KQED, reveals that 84% of the fund went towards covering OPD fees in fiscal year 2017. That figure was 76.1% for fiscal year 2018 and 72.5% in fiscal year 2019.\u003c/p>\n\u003cp>Meanwhile, at the latest Cultural Affairs Commission meeting in July, the organizers of the 11 festivals the fund supports described working with shoestring budgets that left them unable to pay performers in some cases. “We can’t fund a payment for them because we’ve just got so many other costs,” Shifra de Benedictis-Kessner, organizer of the 40th Street Block Party in Temescal, said at the meeting. She added that for the past four years $2,000 of her $5,000 event budget has gone to OPD and fire department costs. “It limits our ability to have a diversity of programing and really support our artists in the city of Oakland.”\u003c/p>\n\u003cp>Oakland’s hotel tax typically subsidizes some of the city’s festivals and fairs. But that fund was used to cover other budget shortfalls during the pandemic, which is why the organizers of First Fridays and other events are now responsible for paying Oakland police out of pocket. But even if that fund were flush with cash, critics say the money should be going to artists instead of police.\u003c/p>\n\u003cp>“It’s a problem because it’s not the intended use of the fund,” says Kaplan. “We need to be supporting our cultural institutions and our artists and these communities that have been incredibly hard hit and are struggling.”\u003c/p>\n\u003cfigure id=\"attachment_13902301\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902301\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/town-experience-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/town-experience-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/town-experience-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/town-experience-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/town-experience-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/town-experience.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Event-goers gather in Oakland’s Liberation Park, part of the city’s Black Cultural Zone, for Outdoor Play Day + The Town Experience Community Photo Shoot in February 2021. Charlese Banks, founder of The Town Experience, says events like these are vital for Oakland’s community and tourism industry. \u003ccite>(Courtesy of The Town Experience)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What’s more, leaders in Oakland’s tourism industry worry that it will be more difficult to replenish Oakland’s hotel tax fund without the attractions that bring people to the city in the first place. “The idea is we get people to fly into Oakland, stay in Oakland. But what are the experiences you give them once they’re here?” asks Charlese Banks of The Town Experience, a marketing firm that promotes Oakland as a “vibrant travel destination.”\u003c/p>\n\u003cp>“Those are very important to their overall stay,” she says. “It’s not just about putting heads in the beds.”\u003c/p>\n\u003ch2>A New Policy Could Help Future Festivals and Parties\u003c/h2>\n\u003cp>In 2020, the Oakland city council unanimously approved Kaplan’s plan to put the city administration in charge of permits instead of OPD. As outlined in the resolution, deploying city staffers and hired security guards for event duties would be significantly cheaper than having police work overtime.\u003c/p>\n\u003cp>[pullquote citation='Oakland City Councilmember Rebecca Kaplan' size='large']‘We are wasting very expensive police officers on duties that have nothing to do with fighting guns or fighting violent crime.’[/pullquote]\u003c/p>\n\u003cp>But the Special Activity Permit Division hasn’t yet implemented this policy, over a year later. Hamilton says that’s because the city council didn’t originally set aside money for the resolution, so there wasn’t enough staffing to implement changes. Oakland’s new budget for fiscal years 2021–2023 provides funding for one new position, which still hasn’t been filled, to support a revised special events process.\u003c/p>\n\u003cp>“During the last year when gatherings were prohibited by local and state public health orders implemented during the height of the COVID-19 pandemic, city staff focused its limited resources on COVID-19 responses,” Hamilton explains via email, “such as the Flex Streets Initiative to help restaurants and retailers operate outdoors in the public rights-of-way, thereby preventing business closures and keeping workers employed, and the Lake Merritt Vending program to support vendors impacted by the pandemic.”\u003c/p>\n\u003cp>Kaplan, on the other hand, doesn’t accept this justification for the delay. “The notion that there wasn’t enough money to do the transfer is frankly insulting,” she says. “First of all, this was the direction to the administrator: to work on it and come back to the council if he needed a new budget allocation. There’s been 20 different opportunities to ask for that at numerous budget hearings. … I think it just reflects a lack of desire to do it.”\u003c/p>\n\u003cp>Currently, a task force of interdepartmental city staff is meeting to come up with a new, more streamlined process for special events, and hopes to present it to the city council in October. “One basic concept we’re hoping to implement is a little bit more transparency on the security requirements just so that there’s consistency,” Minor of the Special Activity Permit Division said at the Cultural Affairs Commission meeting in July, where dozens of event organizers spoke out in favor of the change. \u003c/p>\n\u003cp>It’s unclear whether the final plan will resemble Kaplan and the city council’s original vision; police security fees may still be a factor going forward. “Since the new permitting process is still being developed, the precise roles of each City department (including OPD) has not yet been determined,” Hamilton writes.\u003c/p>\n\u003cp>For Godinez’ part, she doesn’t mind working with OPD. She just doesn’t think First Fridays and other events should have to pay for it. “We’ve never asked them to reduce the [number of] officers,” she says, adding that she has also reached out to the civilian-led Department of Violence Prevention to support October’s event. “We’ve always asked them to do what they think will keep this event safe.”\u003c/p>\n\u003cp>The city task force anticipates presenting its new plan for special events later this fall. But until then, event organizers are left to deal with a confusing, expensive process for the rest of the season. \u003c/p>\n\u003cp>“It’s just unfair,” says Brown of Preserving the Plant. “I think that the city of Oakland can waive the fees. They could have had me pay them later, you know, bill me next year or, ‘OK, you’re doing this for cannabis equity. Well then let’s just figure out a way to wipe the slate.’ Something clever and impactful, because this what you created the equity program for.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cdiv data-tf-widget=\"Ty3UFwaW\" style=\"width:100%;height:400px;color:#FFFFFF;\">\u003c/div>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cscript src=\"//embed.typeform.com/next/embed.js\">\u003c/script>\u003c/p>\n\n",
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"title": "How Expensive Police Fees Shut Down Oakland Community Events | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Preserving the Plant was set to debut this July as the first cannabis fair of its kind in Oakland. Event organizer Edward Brown, an advocate for making the cannabis industry equitable for Black and brown communities harmed by the War on Drugs, worked for two years to ensure his vendor market and festival would have the proper permits, insurance, security and COVID protocols to make it a success.\u003c/p>\n\u003cp>Greg Minor, head of Oakland’s Special Activity Permit Division, had been in communication with Brown throughout the planning process. But Minor didn’t forewarn him that he’d owe the Oakland Police Department money for security fees, Brown says. Three nights before Preserving the Plant was supposed to take place on July 24, Brown recalls getting a surprise email at around 11pm stating that he’d have to pay OPD $6,634 to get his permit.\u003c/p>\n\u003cp>“There was no way we [could have] come up with that money without somebody taking out a loan,” says Brown. He postponed the event to later this fall because of the high OPD fee; COVID concerns also played a role. “It was extremely frustrating. It felt like we were sabotaged. I followed every single rule that the city asked me to, and the state as well, being compliant and turning in things [on time].”\u003c/p>\n\u003cp>Now, Brown has joined dozens of event presenters calling on the city of Oakland to change its special events policy to eliminate some of these high costs and bureaucratic hurdles. In 2020, the city council unanimously approved a resolution to put the city administrator’s office in charge of special event permits and hiring security instead of police. But city staff, who say they were waylaid by the more pressing needs of the pandemic, still haven’t changed the policy.\u003c/p>\n\u003cp>Critics of the current policy are frustrated: In the years prior to the pandemic, Oakland used as much as 84% of its festivals and fairs fund to pay the police department for security instead of directly supporting artists and cultural institutions. This police-led permitting system is cost-prohibitive and inequitable, critics say. They argue it hurts opportunities for artists and small businesses, hampers Oakland’s tourism industry and slows recovery from pandemic restrictions. Now, government leaders, artists and promoters alike are calling for a more transparent, affordable system for throwing festivals, fairs and block parties, all of which are vital for the city’s culture, economy and community relationships.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Preserving the Plant isn’t the only recent event organizers canceled because of high OPD fees. Oakland’s First Fridays art walk had to skip its entire summer season because OPD wanted to charge presenters $24,000 per event.\u003c/p>\n\u003cp>“It’s just disappointing,” says First Friday organizer Shari Godinez, who serves as the executive director of neighborhood merchants association Koreatown Northgate Community Benefit District. “If the city does want to support the arts and culture and revitalizing business in the city, they would support First Friday.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>First Fridays are a big economic driver for Oakland. The street fair typically draws tens of thousands of attendees and boosts revenues in the area by as much as 250%, Godinez says. After its cancellation generated media attention and public outcry, event organizers were able to secure a comeback date in October. Godinez says she met with Oakland Police Chief LeRonne Armstrong, and Armstrong agreed to reduce OPD’s security fees to around $10,000. With the help of City Councilmember At-Large Rebecca Kaplan, Godinez found a corporate sponsor, DoorDash, to cover the cost for October.\u003c/p>\n\u003cp>But this isn’t a sustainable strategy for the long term, nor is it an accessible pathway for less-established event organizers with no connections in city government. “We can’t take that expense on every month, it just isn’t feasible,” Godinez says.\u003c/p>\n\u003cfigure id=\"attachment_13902366\" class=\"wp-caption aligncenter\" style=\"max-width: 1560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/202001-Oakff-AliciaRodriguez-082-1.jpg\" alt=\"Women laugh and smile at a street fair in Oakland.\" width=\"1560\" height=\"1067\" class=\"size-full wp-image-13902366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/202001-Oakff-AliciaRodriguez-082-1.jpg 1560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/202001-Oakff-AliciaRodriguez-082-1-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/202001-Oakff-AliciaRodriguez-082-1-1020x698.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/202001-Oakff-AliciaRodriguez-082-1-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/202001-Oakff-AliciaRodriguez-082-1-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/202001-Oakff-AliciaRodriguez-082-1-1536x1051.jpg 1536w\" sizes=\"(max-width: 1560px) 100vw, 1560px\">\u003cfigcaption class=\"wp-caption-text\">Festival-goers attend First Friday in January 2020. \u003ccite>(Oakland First Fridays/\u003ca href=\"https://www.aliciarphoto.com/\" target=\"_blank\">Alicia Rodriguez\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Dysfunctional System Shuts Down Community Events\u003c/h2>\n\u003cp>Event presenters and city officials have long argued that Oakland’s current system for special events isn’t working. The Oakland Police Department decides how many officers to send to an event and sets its own price for security fees. It’s impossible for a festival organizer to obtain a permit without paying whatever amount OPD determines, sometimes with only a day’s notice. That means the costs to presenters can seem arbitrary and unpredictable, ranging anywhere from hundreds of dollars to the $24,000 initially required of First Fridays.\u003c/p>\n\u003cp>Many Oakland street fairs and block parties are free to the public and don’t have major corporate sponsors, so surprise fees can force organizers to cancel their events or make difficult decisions, such as not paying performers or taking on debt. Short of reaching out to city councilmembers to intervene, there’s no formal process for appealing OPD’s decisions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For Brown, postponing Preserving the Plant meant losing hundreds of dollars on top of dealing with complicated logistics. “We had to pay off the band,” says Brown, adding that he had to find a new headliner because the original act couldn’t reschedule.\u003c/p>\n\u003cp>OPD has no publicly available policy that explains how security fees are determined, and did not return KQED’s request for comment.\u003c/p>\n\u003cp>“In order to not reduce resources needed to respond to critical public safety services (i.e., 911 calls, Ceasefire, violent crimes, etc.), these events are staffed with police officers working overtime,” explains Harry Hamilton of Oakland’s Economic & Workforce Development Department.\u003c/p>\n\u003cp>But critics say therein lies the problem. “We are wasting very expensive police officers on duties that have nothing to do with fighting guns or fighting violent crime,” says Councilmember Kaplan, who proposed a 2020 resolution to transfer special events permits from OPD to city staff.\u003c/p>\n\u003cp>Under the current system, officers are tasked with processing paperwork and directing traffic in addition to doing security. “And we are tripling the costs of community events for no benefit,” Kaplan adds.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kaplan says police fees almost forced the city to shut down a voting site at the Oakland Coliseum during the November 2020 election. “It came within minutes of not happening because the Oakland Police Department was trying to shake them down for many, many tens of thousands of dollars under the theory that this was a special event,” she says, adding that OPD reduced costs after some “high-level people intervened.”\u003c/p>\n\u003cp>For years, civil rights advocates, artists and event promoters have accused the Oakland Police Department of deploying its special events policy in racist ways, ramping up costs for events with Black artists and audiences. In 2017, an \u003cem>East Bay Express\u003c/em> report described a pattern of \u003ca href=\"https://eastbayexpress.com/blacklisted-how-the-oakland-police-department-discriminates-against-rappers-and-music-venues-2-1/\" target=\"_blank\" rel=\"noopener noreferrer\">OPD using security fees to effectively shut down rap concerts\u003c/a>. “OPD knows they’re infringing on these artists’ right to perform,” San Francisco attorney John Hamasaki alleged at the time.\u003c/p>\n\u003cp>Kaplan says that pattern has persisted, and that organizers have complained OPD is abusing the system. “There have been complaints that it’s been disproportionately used against Black community events,” she says. “And I think there’s a lot of history that supports that claim. … The system is inherently a setup for failure.”\u003c/p>\n\u003ch2>Funding Earmarked for Arts Goes to Police\u003c/h2>\n\u003cp>While Oakland budgets money in each fiscal year to support the arts, most of its festivals and fairs fund ends up going to the police department instead of artists or cultural organizations, city data shows.\u003c/p>\n\u003cp>A breakdown of Oakland’s festivals and fairs fund, which the Economic & Workforce Development Department provided to KQED, reveals that 84% of the fund went towards covering OPD fees in fiscal year 2017. That figure was 76.1% for fiscal year 2018 and 72.5% in fiscal year 2019.\u003c/p>\n\u003cp>Meanwhile, at the latest Cultural Affairs Commission meeting in July, the organizers of the 11 festivals the fund supports described working with shoestring budgets that left them unable to pay performers in some cases. “We can’t fund a payment for them because we’ve just got so many other costs,” Shifra de Benedictis-Kessner, organizer of the 40th Street Block Party in Temescal, said at the meeting. She added that for the past four years $2,000 of her $5,000 event budget has gone to OPD and fire department costs. “It limits our ability to have a diversity of programing and really support our artists in the city of Oakland.”\u003c/p>\n\u003cp>Oakland’s hotel tax typically subsidizes some of the city’s festivals and fairs. But that fund was used to cover other budget shortfalls during the pandemic, which is why the organizers of First Fridays and other events are now responsible for paying Oakland police out of pocket. But even if that fund were flush with cash, critics say the money should be going to artists instead of police.\u003c/p>\n\u003cp>“It’s a problem because it’s not the intended use of the fund,” says Kaplan. “We need to be supporting our cultural institutions and our artists and these communities that have been incredibly hard hit and are struggling.”\u003c/p>\n\u003cfigure id=\"attachment_13902301\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902301\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/town-experience-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/town-experience-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/town-experience-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/town-experience-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/town-experience-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/town-experience.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Event-goers gather in Oakland’s Liberation Park, part of the city’s Black Cultural Zone, for Outdoor Play Day + The Town Experience Community Photo Shoot in February 2021. Charlese Banks, founder of The Town Experience, says events like these are vital for Oakland’s community and tourism industry. \u003ccite>(Courtesy of The Town Experience)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What’s more, leaders in Oakland’s tourism industry worry that it will be more difficult to replenish Oakland’s hotel tax fund without the attractions that bring people to the city in the first place. “The idea is we get people to fly into Oakland, stay in Oakland. But what are the experiences you give them once they’re here?” asks Charlese Banks of The Town Experience, a marketing firm that promotes Oakland as a “vibrant travel destination.”\u003c/p>\n\u003cp>“Those are very important to their overall stay,” she says. “It’s not just about putting heads in the beds.”\u003c/p>\n\u003ch2>A New Policy Could Help Future Festivals and Parties\u003c/h2>\n\u003cp>In 2020, the Oakland city council unanimously approved Kaplan’s plan to put the city administration in charge of permits instead of OPD. As outlined in the resolution, deploying city staffers and hired security guards for event duties would be significantly cheaper than having police work overtime.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the Special Activity Permit Division hasn’t yet implemented this policy, over a year later. Hamilton says that’s because the city council didn’t originally set aside money for the resolution, so there wasn’t enough staffing to implement changes. Oakland’s new budget for fiscal years 2021–2023 provides funding for one new position, which still hasn’t been filled, to support a revised special events process.\u003c/p>\n\u003cp>“During the last year when gatherings were prohibited by local and state public health orders implemented during the height of the COVID-19 pandemic, city staff focused its limited resources on COVID-19 responses,” Hamilton explains via email, “such as the Flex Streets Initiative to help restaurants and retailers operate outdoors in the public rights-of-way, thereby preventing business closures and keeping workers employed, and the Lake Merritt Vending program to support vendors impacted by the pandemic.”\u003c/p>\n\u003cp>Kaplan, on the other hand, doesn’t accept this justification for the delay. “The notion that there wasn’t enough money to do the transfer is frankly insulting,” she says. “First of all, this was the direction to the administrator: to work on it and come back to the council if he needed a new budget allocation. There’s been 20 different opportunities to ask for that at numerous budget hearings. … I think it just reflects a lack of desire to do it.”\u003c/p>\n\u003cp>Currently, a task force of interdepartmental city staff is meeting to come up with a new, more streamlined process for special events, and hopes to present it to the city council in October. “One basic concept we’re hoping to implement is a little bit more transparency on the security requirements just so that there’s consistency,” Minor of the Special Activity Permit Division said at the Cultural Affairs Commission meeting in July, where dozens of event organizers spoke out in favor of the change. \u003c/p>\n\u003cp>It’s unclear whether the final plan will resemble Kaplan and the city council’s original vision; police security fees may still be a factor going forward. “Since the new permitting process is still being developed, the precise roles of each City department (including OPD) has not yet been determined,” Hamilton writes.\u003c/p>\n\u003cp>For Godinez’ part, she doesn’t mind working with OPD. She just doesn’t think First Fridays and other events should have to pay for it. “We’ve never asked them to reduce the [number of] officers,” she says, adding that she has also reached out to the civilian-led Department of Violence Prevention to support October’s event. “We’ve always asked them to do what they think will keep this event safe.”\u003c/p>\n\u003cp>The city task force anticipates presenting its new plan for special events later this fall. But until then, event organizers are left to deal with a confusing, expensive process for the rest of the season. \u003c/p>\n\u003cp>“It’s just unfair,” says Brown of Preserving the Plant. “I think that the city of Oakland can waive the fees. They could have had me pay them later, you know, bill me next year or, ‘OK, you’re doing this for cannabis equity. Well then let’s just figure out a way to wipe the slate.’ Something clever and impactful, because this what you created the equity program for.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cdiv data-tf-widget=\"Ty3UFwaW\" style=\"width:100%;height:400px;color:#FFFFFF;\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "George Horn, Essential Invisible Man of Bay Area Music, Dies at 87",
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"content": "\u003cp>Whether you love hip-hop, punk, modern jazz, jam bands, salsa or country music, George Horn’s fingerprints are all over your playlist.\u003c/p>\n\u003cp>As the chief engineer at a succession of Bay Area studios, most importantly during a nearly three-decade tenure at Fantasy Studios in Berkeley, Horn mastered thousands of albums by artists including Bob Dylan, Charles Mingus, MC Hammer, the Dead Kennedys, Crosby, Stills & Nash, Simon & Garfunkel, the Grateful Dead, Creedence Clearwater Revival, Rosemary Clooney and Santana.\u003c/p>\n\u003cp>An unsurpassed master of the mysterious art of mastering, Horn died early Saturday morning at 87 from pulmonary hypertension exacerbated by COVID-19, according to brother-in-law William Stetler. Described by family and colleagues as an introverted, deeply private man, he launched his own independent mastering studio in 2008 after Concord Records acquired Fantasy’s vast catalogue of jazz labels. At his studio within the Fantasy Studios building, he and his last protégé, Anne-Marie Suenram, maintained the region’s only regularly working lathe for cutting vinyl records.\u003c/p>\n\u003cfigure id=\"attachment_13902061\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/GeorgeHorn.Handbook-800x512.jpg\" alt=\"\" width=\"800\" height=\"512\" class=\"size-medium wp-image-13902061\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/GeorgeHorn.Handbook-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/GeorgeHorn.Handbook-1020x653.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/GeorgeHorn.Handbook-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/GeorgeHorn.Handbook-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/GeorgeHorn.Handbook.jpg 1263w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">George Horn on the cover of ‘The Mastering Engineer’s Handbook’ (Thompson Course Technology); a recent photo in the studio. \u003ccite>(Courtesy Anne-Marie Suenram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A San Francisco native, Horn spent his teenage years building and repairing electronic devices. After working in broadcasting, he became chief engineer at a number of labels and studios, notably Columbia Records and Bill Putnam’s Coast Recorders Studios, before becoming chief engineer at Fantasy Studios in 1980. \u003c/p>\n\u003cp>The process of mastering has long held a bit of mystique. Horn learned the craft in the 1960s, when mastering was a mechanical job that meant using a record lathe to etch grooves onto a lacquer or acetate disc—and when, simultaneously, the Bay Area became ground zero for a rock movement unleashed as folk, blues and bluegrass musicians plugged in electric instruments.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='forum_2010101866567']In the digital age, the job of mastering means preparing any kind of audio for release—a more complicated job “that requires taking all these different tracks that may have been recorded in different studios with different engineers and making them sound like a coherent album,” said veteran Oakland audio engineer Myles Boisen.\u003c/p>\n\u003cp>“It’s a science and an art. As a producer, you want a good mastering engineer to sprinkle their magic mastering dust on it,” Boisen added. “There are nuances they can do above and beyond what’s done in mixing, putting the final sheen on a project before it’s transmitted to the marketplace. Mastering is the last chance for a fresh set of ears.”\u003c/p>\n\u003cfigure id=\"attachment_13902059\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Horn.Albums.jpg\" alt=\"\" width=\"600\" height=\"599\" class=\"size-full wp-image-13902059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Horn.Albums.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Horn.Albums-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Horn.Albums-768x765.jpg 768w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Nine of the thousands of albums mastered by George Horn. Albums spanning every genre came across Horn’s sharp ear for finishing touches.\u003c/figcaption>\u003c/figure>\n\u003cp>Horn navigated the digital transition seamlessly, embracing the advent of compact discs and each subsequent sea change in the music business. At Fantasy, which owned a treasure trove of jazz recordings by epochal artists such as Miles Davis, John Coltrane, Bill Evans, and Thelonious Monk, Horn and Fantasy colleague Joe Tarantino ushered classic albums by the labels Prestige, Riverside, Contemporary, and Pablo into the digital age as part of a vast Original Jazz Classics (OJC) reissue series.\u003c/p>\n\u003cp>“For me, his major accomplishment was working on the OJC reissues, just a huge number of essential jazz records by Monk, Miles, Trane, and on and on,” Boisen said. “That earlier generation of compact discs didn’t always sound really good, but he took the time and care to make those CDs sound great.”\u003c/p>\n\u003cp>As word of Horn’s passing spread on social media, numerous musicians and colleagues reached out to share stories about him. He may have been loath to talk about his life outside the studio, but in his circle, he was a quiet force who emanated respect for the artists entrusting him with their music. Nothing seemed to faze him, and when punk rock exploded in San Francisco, he became the go-to guy for mastering their records.\u003c/p>\n\u003cfigure id=\"attachment_13902060\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/George_and_rob-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13902060\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George_and_rob-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George_and_rob-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George_and_rob-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George_and_rob-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George_and_rob-1536x1021.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George_and_rob.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">George Horn and Ralph Kaffel in the Fantasy Studios parking lot. \u003ccite>(Courtesy of Anne-Marie Suenram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He saw everything as a challenge, and he wanted to translate what people wanted,” said Jello Biafra, who started hiring Horn in the early 1980s for the Dead Kennedys. “Before long, he was also doing Flipper and all the stuff Subterranean put out, and of course the rest of the Alternative Tentacles releases too. I attended every single cut that he did, knowing I had somebody’s baby on the line. We had a lot of respect for each other.”\u003c/p>\n\u003cp>Among his fellow engineers, Horn was known for his versatility and exceptional ears. He imbued his artist-first sensibility in the select group of engineers he took under his wing. Gary Hobish, who runs A. Hammer Mastering and Digital Media in San Francisco, got his start under Horn at Fantasy in the early ’80s, where he learned that “in mastering, you have to be able to take on all comers,” Hobish said.\u003c/p>\n\u003cp>“George was amazing at that. It seemed to me he didn’t feel it was his place to tell somebody how their record should sound. One day you’re doing a catalog cut of a classic Bill Evans recording from 1957 and the next day you’re doing a Flipper record or MX-80, something avant garde and intentionally harsh. I never saw a reaction or judgement either way. He knew he was contributing to an artistic scene.”\u003c/p>\n\u003cfigure id=\"attachment_13901978\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901978\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/George-Horns-lathe-800x451.jpg\" alt=\"\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George-Horns-lathe-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George-Horns-lathe-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George-Horns-lathe-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George-Horns-lathe-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George-Horns-lathe-1536x866.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George-Horns-lathe-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George-Horns-lathe.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The lathe in George Horn’s studio that’s cut hundreds of albums.\u003c/figcaption>\u003c/figure>\n\u003cp>When interest in vinyl came roaring back, Horn was uniquely placed to take on the new flow of work. He never got rid of his lathe, and he had a young set of ears to assist him. Anne-Marie Suenram, a classically trained vocalist and pianist, met Horn while interning at Fantasy Studios, and he welcomed her evident interest in the mastering process.\u003c/p>\n\u003cp>“As soon as my internship was over he started training me,” she said. “Within a year, he didn’t need to oversee me and he let me do a lot of the mastering and cutting. He was very good to me. When I was expecting my daughter, he would insist on doing anything with chemicals, and he was very supportive during maternity leave.”\u003c/p>\n\u003cp>For the immediate future, Suenram will continue operations at Horn’s studio in Berkeley, cutting records and mastering albums. She’ll also be talking about him, she knows, for years to come.\u003c/p>\n\u003cp>“He really was very much a background character,” Suenram says, “and I’d like people to know about him.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Horn is survived by his wife of 20 years, Diane Mansfield. Services will take place graveside on Friday, Aug. 27, at 2:45pm, at Holy Cross Cemetery in Colma. Due to COVID, no gathering will follow.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Whether you love hip-hop, punk, modern jazz, jam bands, salsa or country music, George Horn’s fingerprints are all over your playlist.\u003c/p>\n\u003cp>As the chief engineer at a succession of Bay Area studios, most importantly during a nearly three-decade tenure at Fantasy Studios in Berkeley, Horn mastered thousands of albums by artists including Bob Dylan, Charles Mingus, MC Hammer, the Dead Kennedys, Crosby, Stills & Nash, Simon & Garfunkel, the Grateful Dead, Creedence Clearwater Revival, Rosemary Clooney and Santana.\u003c/p>\n\u003cp>An unsurpassed master of the mysterious art of mastering, Horn died early Saturday morning at 87 from pulmonary hypertension exacerbated by COVID-19, according to brother-in-law William Stetler. Described by family and colleagues as an introverted, deeply private man, he launched his own independent mastering studio in 2008 after Concord Records acquired Fantasy’s vast catalogue of jazz labels. At his studio within the Fantasy Studios building, he and his last protégé, Anne-Marie Suenram, maintained the region’s only regularly working lathe for cutting vinyl records.\u003c/p>\n\u003cfigure id=\"attachment_13902061\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/GeorgeHorn.Handbook-800x512.jpg\" alt=\"\" width=\"800\" height=\"512\" class=\"size-medium wp-image-13902061\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/GeorgeHorn.Handbook-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/GeorgeHorn.Handbook-1020x653.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/GeorgeHorn.Handbook-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/GeorgeHorn.Handbook-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/GeorgeHorn.Handbook.jpg 1263w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">George Horn on the cover of ‘The Mastering Engineer’s Handbook’ (Thompson Course Technology); a recent photo in the studio. \u003ccite>(Courtesy Anne-Marie Suenram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A San Francisco native, Horn spent his teenage years building and repairing electronic devices. After working in broadcasting, he became chief engineer at a number of labels and studios, notably Columbia Records and Bill Putnam’s Coast Recorders Studios, before becoming chief engineer at Fantasy Studios in 1980. \u003c/p>\n\u003cp>The process of mastering has long held a bit of mystique. Horn learned the craft in the 1960s, when mastering was a mechanical job that meant using a record lathe to etch grooves onto a lacquer or acetate disc—and when, simultaneously, the Bay Area became ground zero for a rock movement unleashed as folk, blues and bluegrass musicians plugged in electric instruments.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In the digital age, the job of mastering means preparing any kind of audio for release—a more complicated job “that requires taking all these different tracks that may have been recorded in different studios with different engineers and making them sound like a coherent album,” said veteran Oakland audio engineer Myles Boisen.\u003c/p>\n\u003cp>“It’s a science and an art. As a producer, you want a good mastering engineer to sprinkle their magic mastering dust on it,” Boisen added. “There are nuances they can do above and beyond what’s done in mixing, putting the final sheen on a project before it’s transmitted to the marketplace. Mastering is the last chance for a fresh set of ears.”\u003c/p>\n\u003cfigure id=\"attachment_13902059\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Horn.Albums.jpg\" alt=\"\" width=\"600\" height=\"599\" class=\"size-full wp-image-13902059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Horn.Albums.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Horn.Albums-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Horn.Albums-768x765.jpg 768w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Nine of the thousands of albums mastered by George Horn. Albums spanning every genre came across Horn’s sharp ear for finishing touches.\u003c/figcaption>\u003c/figure>\n\u003cp>Horn navigated the digital transition seamlessly, embracing the advent of compact discs and each subsequent sea change in the music business. At Fantasy, which owned a treasure trove of jazz recordings by epochal artists such as Miles Davis, John Coltrane, Bill Evans, and Thelonious Monk, Horn and Fantasy colleague Joe Tarantino ushered classic albums by the labels Prestige, Riverside, Contemporary, and Pablo into the digital age as part of a vast Original Jazz Classics (OJC) reissue series.\u003c/p>\n\u003cp>“For me, his major accomplishment was working on the OJC reissues, just a huge number of essential jazz records by Monk, Miles, Trane, and on and on,” Boisen said. “That earlier generation of compact discs didn’t always sound really good, but he took the time and care to make those CDs sound great.”\u003c/p>\n\u003cp>As word of Horn’s passing spread on social media, numerous musicians and colleagues reached out to share stories about him. He may have been loath to talk about his life outside the studio, but in his circle, he was a quiet force who emanated respect for the artists entrusting him with their music. Nothing seemed to faze him, and when punk rock exploded in San Francisco, he became the go-to guy for mastering their records.\u003c/p>\n\u003cfigure id=\"attachment_13902060\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/George_and_rob-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13902060\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George_and_rob-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George_and_rob-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George_and_rob-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George_and_rob-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George_and_rob-1536x1021.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George_and_rob.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">George Horn and Ralph Kaffel in the Fantasy Studios parking lot. \u003ccite>(Courtesy of Anne-Marie Suenram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He saw everything as a challenge, and he wanted to translate what people wanted,” said Jello Biafra, who started hiring Horn in the early 1980s for the Dead Kennedys. “Before long, he was also doing Flipper and all the stuff Subterranean put out, and of course the rest of the Alternative Tentacles releases too. I attended every single cut that he did, knowing I had somebody’s baby on the line. We had a lot of respect for each other.”\u003c/p>\n\u003cp>Among his fellow engineers, Horn was known for his versatility and exceptional ears. He imbued his artist-first sensibility in the select group of engineers he took under his wing. Gary Hobish, who runs A. Hammer Mastering and Digital Media in San Francisco, got his start under Horn at Fantasy in the early ’80s, where he learned that “in mastering, you have to be able to take on all comers,” Hobish said.\u003c/p>\n\u003cp>“George was amazing at that. It seemed to me he didn’t feel it was his place to tell somebody how their record should sound. One day you’re doing a catalog cut of a classic Bill Evans recording from 1957 and the next day you’re doing a Flipper record or MX-80, something avant garde and intentionally harsh. I never saw a reaction or judgement either way. He knew he was contributing to an artistic scene.”\u003c/p>\n\u003cfigure id=\"attachment_13901978\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901978\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/George-Horns-lathe-800x451.jpg\" alt=\"\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George-Horns-lathe-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George-Horns-lathe-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George-Horns-lathe-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George-Horns-lathe-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George-Horns-lathe-1536x866.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George-Horns-lathe-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George-Horns-lathe.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The lathe in George Horn’s studio that’s cut hundreds of albums.\u003c/figcaption>\u003c/figure>\n\u003cp>When interest in vinyl came roaring back, Horn was uniquely placed to take on the new flow of work. He never got rid of his lathe, and he had a young set of ears to assist him. Anne-Marie Suenram, a classically trained vocalist and pianist, met Horn while interning at Fantasy Studios, and he welcomed her evident interest in the mastering process.\u003c/p>\n\u003cp>“As soon as my internship was over he started training me,” she said. “Within a year, he didn’t need to oversee me and he let me do a lot of the mastering and cutting. He was very good to me. When I was expecting my daughter, he would insist on doing anything with chemicals, and he was very supportive during maternity leave.”\u003c/p>\n\u003cp>For the immediate future, Suenram will continue operations at Horn’s studio in Berkeley, cutting records and mastering albums. She’ll also be talking about him, she knows, for years to come.\u003c/p>\n\u003cp>“He really was very much a background character,” Suenram says, “and I’d like people to know about him.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Horn is survived by his wife of 20 years, Diane Mansfield. Services will take place graveside on Friday, Aug. 27, at 2:45pm, at Holy Cross Cemetery in Colma. Due to COVID, no gathering will follow.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Man Photographed as a Baby on 'Nevermind' Cover Sues Nirvana for Sexual Exploitation",
"headTitle": "Man Photographed as a Baby on ‘Nevermind’ Cover Sues Nirvana for Sexual Exploitation | KQED",
"content": "\u003cp>\u003cstrong>Updated, Jan. 4, 2022: \u003c/strong>Judge Fernando M. Olguin has dismissed Spencer Elden’s lawsuit against Nirvana and related parties over the artwork for the band’s 1992 \u003cem>Nevermind\u003c/em> album. Elden, who was featured on the record cover as a naked 4-month-old baby, missed the deadline of Dec. 30, 2021 to oppose the defendants’ motion to dismiss. As a result, Olguin dismissed the case on Jan. 3.\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>The cover for \u003cem>Nevermind\u003c/em>, a 1991 Nirvana album that is said to have helped redefine rock music, features a naked 4-month-old baby in a pool, appearing to swim after a dollar bill that’s pierced with a fish hook.\u003c/p>\n\u003cp>That baby—the now 30-year-old Spencer Elden—is suing Nirvana for child exploitation and pornography, saying the band knowingly distributed the naked photo of Elden as a baby and profited from it.\u003c/p>\n\u003cp>He’s asking for $150,000 in damages from each of the defendants, which include members of the band, Kurt Cobain’s estate, photographer Kirk Weddle, Universal Music, Geffen Records, Warner Records and MCA Music.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The cover photo was shot by Weddle, who was \u003ca href=\"https://www.npr.org/2008/07/23/92833535/once-naked-for-nirvana-now-a-teen-spirit\" target=\"_blank\" rel=\"noopener noreferrer\">a friend\u003c/a> of Elden’s father. The lawsuit accuses Weddle of producing a “sexually graphic” photo of Elden. It adds that there was initially pushback against featuring Elden’s genitals on the album cover and the plan was to place a sticker over it.\u003c/p>\n\u003cp>“The sticker, however, was never incorporated into the album cover,” the lawsuit states.\u003c/p>\n\u003cp>Elden’s parents also never signed a release authorizing the use of the image, and Elden himself never received any compensation, the lawsuit says.\u003c/p>\n\u003cp>“Spencer’s true identity and legal name are forever tied to the commercial sexual exploitation he experienced as a minor,” Robert Lewis, Elden’s attorney, writes in the lawsuit.\u003c/p>\n\u003cp>Lewis writes that Elden has experienced emotional distress and interference with emotional and educational development.\u003c/p>\n\u003cp>Nirvana fans took to social media on Wednesday to express cynicism about Elden’s motivations.\u003c/p>\n\u003cp>https://twitter.com/TheOtherGSP/status/1430539014692478980\u003c/p>\n\u003cp>Twitter users rushed to highlight the fact that Elden has the word \u003ca href=\"https://twitter.com/come_back_shane/status/1430530982944313347\" target=\"_blank\" rel=\"noopener noreferrer\">“Nevermind” tattooed\u003c/a> across his chest and has a long history of posing underwater, in tribute to the album cover.\u003c/p>\n\u003cp>https://twitter.com/UpToTASK/status/1430549339676438529\u003c/p>\n\u003cp>In a 2008 interview with \u003ca href=\"https://www.npr.org/2008/07/23/92833535/once-naked-for-nirvana-now-a-teen-spirit\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>, Elden, then in high school, was still struggling to make sense of his public image.\u003c/p>\n\u003cp>“Quite a few people in the world have seen my penis,” he said, “So that’s kinda cool. I’m just a normal kid living it up and doing the best I can while I’m here.”\u003c/p>\n\u003cp>By 2016, in an interview with \u003ca href=\"https://www.gq.com.au/entertainment/music/the-cover-star-baby-of-nirvanas-nevermind-album-25-years-on/news-story/091b16069b5f54dc0d27a86cf1ea3f6e\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>GQ Australia\u003c/em>\u003c/a>, Elden’s tone had shifted considerably. “Recently I’ve been thinking, ‘What if I wasn’t OK with my freaking penis being shown to everybody?’” he said. “I didn’t really have a choice.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He admitted in the same interview that his feelings about the album cover had changed after he invited Nirvana to be part of an art show he was organizing with Weddle. “I was getting referred to their managers and lawyers,” he said. “Why am I still on their cover if I’m not that big of a deal?”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>This story includes reporting from KQED’s Rae Alexandra. Copyright 2021 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=Man+Photographed+As+A+Baby+On+%27Nevermind%27+Cover+Sues+Nirvana+For+Sexual+Exploitation&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\"> \u003c/em>\u003c/div>\n\n",
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"excerpt": "Spencer Elden, now 30, is suing the band, the photographer and the record labels that he says profited from the image. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated, Jan. 4, 2022: \u003c/strong>Judge Fernando M. Olguin has dismissed Spencer Elden’s lawsuit against Nirvana and related parties over the artwork for the band’s 1992 \u003cem>Nevermind\u003c/em> album. Elden, who was featured on the record cover as a naked 4-month-old baby, missed the deadline of Dec. 30, 2021 to oppose the defendants’ motion to dismiss. As a result, Olguin dismissed the case on Jan. 3.\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>The cover for \u003cem>Nevermind\u003c/em>, a 1991 Nirvana album that is said to have helped redefine rock music, features a naked 4-month-old baby in a pool, appearing to swim after a dollar bill that’s pierced with a fish hook.\u003c/p>\n\u003cp>That baby—the now 30-year-old Spencer Elden—is suing Nirvana for child exploitation and pornography, saying the band knowingly distributed the naked photo of Elden as a baby and profited from it.\u003c/p>\n\u003cp>He’s asking for $150,000 in damages from each of the defendants, which include members of the band, Kurt Cobain’s estate, photographer Kirk Weddle, Universal Music, Geffen Records, Warner Records and MCA Music.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The cover photo was shot by Weddle, who was \u003ca href=\"https://www.npr.org/2008/07/23/92833535/once-naked-for-nirvana-now-a-teen-spirit\" target=\"_blank\" rel=\"noopener noreferrer\">a friend\u003c/a> of Elden’s father. The lawsuit accuses Weddle of producing a “sexually graphic” photo of Elden. It adds that there was initially pushback against featuring Elden’s genitals on the album cover and the plan was to place a sticker over it.\u003c/p>\n\u003cp>“The sticker, however, was never incorporated into the album cover,” the lawsuit states.\u003c/p>\n\u003cp>Elden’s parents also never signed a release authorizing the use of the image, and Elden himself never received any compensation, the lawsuit says.\u003c/p>\n\u003cp>“Spencer’s true identity and legal name are forever tied to the commercial sexual exploitation he experienced as a minor,” Robert Lewis, Elden’s attorney, writes in the lawsuit.\u003c/p>\n\u003cp>Lewis writes that Elden has experienced emotional distress and interference with emotional and educational development.\u003c/p>\n\u003cp>Nirvana fans took to social media on Wednesday to express cynicism about Elden’s motivations.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Twitter users rushed to highlight the fact that Elden has the word \u003ca href=\"https://twitter.com/come_back_shane/status/1430530982944313347\" target=\"_blank\" rel=\"noopener noreferrer\">“Nevermind” tattooed\u003c/a> across his chest and has a long history of posing underwater, in tribute to the album cover.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In a 2008 interview with \u003ca href=\"https://www.npr.org/2008/07/23/92833535/once-naked-for-nirvana-now-a-teen-spirit\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>, Elden, then in high school, was still struggling to make sense of his public image.\u003c/p>\n\u003cp>“Quite a few people in the world have seen my penis,” he said, “So that’s kinda cool. I’m just a normal kid living it up and doing the best I can while I’m here.”\u003c/p>\n\u003cp>By 2016, in an interview with \u003ca href=\"https://www.gq.com.au/entertainment/music/the-cover-star-baby-of-nirvanas-nevermind-album-25-years-on/news-story/091b16069b5f54dc0d27a86cf1ea3f6e\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>GQ Australia\u003c/em>\u003c/a>, Elden’s tone had shifted considerably. “Recently I’ve been thinking, ‘What if I wasn’t OK with my freaking penis being shown to everybody?’” he said. “I didn’t really have a choice.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He admitted in the same interview that his feelings about the album cover had changed after he invited Nirvana to be part of an art show he was organizing with Weddle. “I was getting referred to their managers and lawyers,” he said. “Why am I still on their cover if I’m not that big of a deal?”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>This story includes reporting from KQED’s Rae Alexandra. Copyright 2021 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=Man+Photographed+As+A+Baby+On+%27Nevermind%27+Cover+Sues+Nirvana+For+Sexual+Exploitation&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\"> \u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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