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"content": "\u003cp>A few days before last year’s \u003ca href=\"https://chineseparade.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese New Year Festival and Parade\u003c/a>, Donna Ng said nothing was going to keep her away from celebrating on the streets with her community—not even the mysterious disease that was starting to spread across the globe, causing some U.S. cities to cancel their New Year festivities.\u003c/p>\n\u003cp>“I don’t think it’s going to affect the parade,” the longtime San Francisco resident said at the time in an \u003ca href=\"https://www.kqed.org/news/11800359/coronvirus-fears-wont-stop-sf-lunar-new-year-festivities\" target=\"_blank\" rel=\"noopener noreferrer\">interview with KQED\u003c/a>. “We’re talking thousands and thousands and thousands of people, and only a handful are sick.”\u003c/p>\n\u003cfigure id=\"attachment_13892556\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13892556\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/RS41150_Donna-Ng-qut-1832x1374-1-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS41150_Donna-Ng-qut-1832x1374-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS41150_Donna-Ng-qut-1832x1374-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS41150_Donna-Ng-qut-1832x1374-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS41150_Donna-Ng-qut-1832x1374-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS41150_Donna-Ng-qut-1832x1374-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS41150_Donna-Ng-qut-1832x1374-1.jpg 1832w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Longtime San Francisco Chinese New Year supporter Donna Ng photographed with a Year of the Rat float right before the 2020 festivities. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last year, San Francisco city officials allowed the New Year street festival and parade—one of the oldest and largest in the country—to proceed, even as the COVID-19 pandemic threatened to shut down most local businesses and large public gatherings.\u003c/p>\n\u003cp>This year, things are very different.\u003c/p>\n\u003cp>“We obviously didn’t realize how bad the coronavirus was,” said Ng, reflecting back on 2020 in a video interview with KQED this past week.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ng said she has been mostly housebound in San Francisco over the past year, taking care of her 93-year-old mother. She’s seen her property management business plummet.\u003c/p>\n\u003cp>“There’s been tons of vacancies and I can’t fill them,” Ng said. “It’s been hard.”\u003c/p>\n\u003cp>And Ng said she’s really going to miss the annual Chinese New Year parade, which has been canceled because of the pandemic. She’s been involved with it for around 30 years.\u003c/p>\n\u003cp>“It’s really sad,” said Ng.\u003c/p>\n\u003cp>“We know that everyone would love to come out to watch the lion dances, the dragon dances, the dancers, hear the firecrackers and stuff like that,” said parade organizer William Gee. “Unfortunately, we just felt it would be irresponsible of us to actually hold a live performance this year.”\u003c/p>\n\u003cp>Gee said his team decided to cancel the 2021 parade late last summer after consulting with city health officials.\u003c/p>\n\u003cp>But he said it’s still important to help the community feel connected to traditions.\u003c/p>\n\u003cp>So for the first time, the \u003ca href=\"https://www.ktvu.com/news/sf-chinese-new-year-parade-canceled-in-2021\" target=\"_blank\" rel=\"noopener noreferrer\">annual TV special\u003c/a>, scheduled for Feb. 20, will attempt to translate elements from what would have been the live festivities to the screen, such as the appearance of some of the sponsored floats that would under normal circumstances be seen trundling along the city streets on parade day.\u003c/p>\n\u003cp>“Despite the pandemic, we haven’t given up,” said Ethel Reddy, the Lunar New Year celebration’s community liaison for longtime event sponsor Bank of America. She said the bank’s float will be revealed as part of the TV special. “We found new ways to continue with traditions.”\u003c/p>\n\u003cp>The TV special will also feature a video appearance by this year’s grand marshal—\u003ca href=\"https://chineseparade.com/2021/02/08/bay-area-native-jon-m-chu-named-grand-marshal/\" target=\"_blank\" rel=\"noopener noreferrer\">Bay Area native Jon Chu\u003c/a>, best known for directing \u003cem>Crazy Rich Asians\u003c/em>.\u003c/p>\n\u003cp>“This will be the first time we’ve done something like this,” Gee said. “Typically the grand marshal rides in a car along with the parade.”\u003c/p>\n\u003cp>But there are still one or two ways to experience the Year of the Ox outdoors.\u003c/p>\n\u003cp>The event’s main sponsor, Southwest Airlines, plans to display its float publicly, albeit in stationary fashion, at Pier 27 on the weekends of Feb. 13-14 and Feb. 20-21.\u003c/p>\n\u003cp>And the parade organizers have also commissioned local artists to adorn 11 life-sized, beautifully painted \u003ca href=\"https://chineseparade.com/ox-on-parade/\" target=\"_blank\" rel=\"noopener noreferrer\">ox sculptures\u003c/a> scattered around the city.\u003c/p>\n\u003cfigure id=\"attachment_13892557\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13892557\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/RS47190_IMG_5103-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS47190_IMG_5103-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS47190_IMG_5103-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS47190_IMG_5103-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS47190_IMG_5103-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS47190_IMG_5103-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS47190_IMG_5103-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Monique Zhang poses with her ox outside city hall. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An \u003ca href=\"https://www.google.com/maps/d/u/0/viewer?mid=1DxZn8FNFP24X2eufBqMktCz8-_7FnuKp&ll=37.71505217343373%2C-122.3547414&z=12\" target=\"_blank\" rel=\"noopener noreferrer\">online map\u003c/a> shows the locations of the artworks, which are on display through Mar. 14, and the event organizers have launched a \u003ca href=\"https://chineseparade.com/contest/\" target=\"_blank\" rel=\"noopener noreferrer\">social media photo contest\u003c/a>, encouraging members of of the public to submit selfies with the colorful bovines.\u003c/p>\n\u003cp>“Most people think the ox is a forceful beast,” said San Francisco artist and fashion designer \u003ca href=\"http://www.chinatownfashionweek.com/?speaker=monique-zhang\" target=\"_blank\" rel=\"noopener noreferrer\">Monique Zhang\u003c/a>, whose ox sculpture is bright yellow and orange with cute, little heart shaped flowers adorning its cheeks. “But actually in nature it’s a very gentle giant.”\u003c/p>\n\u003cp>Zhang’s artwork is located on the plaza across the street from city hall. She said the ox represents hard work, patience, honesty—qualities everyone could use right now. \u003cspan style=\"font-weight: 400\">[aside postid='arts_13892437']\u003c/span>\u003c/p>\n\u003cp>“People are so much afraid of each other now because we can’t see where the virus is,” Zhang said. “But the heart within yourself can generate fearlessness.”\u003c/p>\n\u003cp>“Even though I wish we could have the real parade, the ox project really makes me happy,” said Deyi Robin Zhao, a young Oakland-based student at the \u003ca href=\"https://www.cca.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">California College of the Arts\u003c/a> and the artist behind two of the ox sculptures. One is a modern take on traditional blue and white Chinese porcelain motifs (located at Sacramento Plaza), and the other, adorned in pink blossoms and located at Portsmouth Square, highlights themes of springtime, strength and peace.\u003c/p>\n\u003cfigure id=\"attachment_13892558\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13892558\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/RS47191_Robin-bofa-qut.jpg\" alt=\"\" width=\"750\" height=\"542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS47191_Robin-bofa-qut.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS47191_Robin-bofa-qut-160x116.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Deyi Robin Zhao works on one of her two ox sculptures. \u003ccite>(Courtesy Deyi Robin Zhao)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003c/b>“We still want to pass the love for our community and tell our community that even though we’re in this hard pandemic year, we’re still here for everybody and art still lives in our hearts with these oxen.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Chinese people in the Bay Area have been hit very hard this past year. They’ve been a target of xenophobic rhetoric and \u003ca href=\"https://www.cnn.com/2021/02/08/us/asian-american-attacks-bay-area/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">attacks\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Things have been bad for business too. According to San Francisco’s \u003ca href=\"https://www.chinatowncdc.org/8-about-us?start=4\" target=\"_blank\" rel=\"noopener noreferrer\">Chinatown Community Development Center\u003c/a>, small Chinese-owned businesses usually make 30% of their annual income in the lead up to the new year celebrations — so, as a result of the pandemic, they’ll be seeing a major drop this year. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s why longtime fan Ng said it’s especially important for people to feel a sense of community pride right now. \u003c/span>\u003c/p>\n\u003cp>In addition to celebrating Lunar New Year as usual at home, with fresh flowers, customary foods like chicken and oranges, and hongbaos\u003cspan style=\"font-weight: 400\"> (the small red paper envelopes filled with money that people give to each other as gifts) Ng is also looking forward to heading out in the coming week or two to check out the ox sculptures. She said she and her mom just got the COVID-19 vaccine. \u003c/span>\u003c/p>\n\u003cp>“You still have to try to think normal, do things normally as best as you can,” Ng said. “I mean, you don’t want to say, ‘Oh, with COVID, no Chinese New Year celebration.’ That just doesn’t work.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "The traditional parade is off this year, but San Francisco is still celebrating with public art and a TV broadcast. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A few days before last year’s \u003ca href=\"https://chineseparade.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese New Year Festival and Parade\u003c/a>, Donna Ng said nothing was going to keep her away from celebrating on the streets with her community—not even the mysterious disease that was starting to spread across the globe, causing some U.S. cities to cancel their New Year festivities.\u003c/p>\n\u003cp>“I don’t think it’s going to affect the parade,” the longtime San Francisco resident said at the time in an \u003ca href=\"https://www.kqed.org/news/11800359/coronvirus-fears-wont-stop-sf-lunar-new-year-festivities\" target=\"_blank\" rel=\"noopener noreferrer\">interview with KQED\u003c/a>. “We’re talking thousands and thousands and thousands of people, and only a handful are sick.”\u003c/p>\n\u003cfigure id=\"attachment_13892556\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13892556\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/RS41150_Donna-Ng-qut-1832x1374-1-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS41150_Donna-Ng-qut-1832x1374-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS41150_Donna-Ng-qut-1832x1374-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS41150_Donna-Ng-qut-1832x1374-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS41150_Donna-Ng-qut-1832x1374-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS41150_Donna-Ng-qut-1832x1374-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS41150_Donna-Ng-qut-1832x1374-1.jpg 1832w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Longtime San Francisco Chinese New Year supporter Donna Ng photographed with a Year of the Rat float right before the 2020 festivities. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last year, San Francisco city officials allowed the New Year street festival and parade—one of the oldest and largest in the country—to proceed, even as the COVID-19 pandemic threatened to shut down most local businesses and large public gatherings.\u003c/p>\n\u003cp>This year, things are very different.\u003c/p>\n\u003cp>“We obviously didn’t realize how bad the coronavirus was,” said Ng, reflecting back on 2020 in a video interview with KQED this past week.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ng said she has been mostly housebound in San Francisco over the past year, taking care of her 93-year-old mother. She’s seen her property management business plummet.\u003c/p>\n\u003cp>“There’s been tons of vacancies and I can’t fill them,” Ng said. “It’s been hard.”\u003c/p>\n\u003cp>And Ng said she’s really going to miss the annual Chinese New Year parade, which has been canceled because of the pandemic. She’s been involved with it for around 30 years.\u003c/p>\n\u003cp>“It’s really sad,” said Ng.\u003c/p>\n\u003cp>“We know that everyone would love to come out to watch the lion dances, the dragon dances, the dancers, hear the firecrackers and stuff like that,” said parade organizer William Gee. “Unfortunately, we just felt it would be irresponsible of us to actually hold a live performance this year.”\u003c/p>\n\u003cp>Gee said his team decided to cancel the 2021 parade late last summer after consulting with city health officials.\u003c/p>\n\u003cp>But he said it’s still important to help the community feel connected to traditions.\u003c/p>\n\u003cp>So for the first time, the \u003ca href=\"https://www.ktvu.com/news/sf-chinese-new-year-parade-canceled-in-2021\" target=\"_blank\" rel=\"noopener noreferrer\">annual TV special\u003c/a>, scheduled for Feb. 20, will attempt to translate elements from what would have been the live festivities to the screen, such as the appearance of some of the sponsored floats that would under normal circumstances be seen trundling along the city streets on parade day.\u003c/p>\n\u003cp>“Despite the pandemic, we haven’t given up,” said Ethel Reddy, the Lunar New Year celebration’s community liaison for longtime event sponsor Bank of America. She said the bank’s float will be revealed as part of the TV special. “We found new ways to continue with traditions.”\u003c/p>\n\u003cp>The TV special will also feature a video appearance by this year’s grand marshal—\u003ca href=\"https://chineseparade.com/2021/02/08/bay-area-native-jon-m-chu-named-grand-marshal/\" target=\"_blank\" rel=\"noopener noreferrer\">Bay Area native Jon Chu\u003c/a>, best known for directing \u003cem>Crazy Rich Asians\u003c/em>.\u003c/p>\n\u003cp>“This will be the first time we’ve done something like this,” Gee said. “Typically the grand marshal rides in a car along with the parade.”\u003c/p>\n\u003cp>But there are still one or two ways to experience the Year of the Ox outdoors.\u003c/p>\n\u003cp>The event’s main sponsor, Southwest Airlines, plans to display its float publicly, albeit in stationary fashion, at Pier 27 on the weekends of Feb. 13-14 and Feb. 20-21.\u003c/p>\n\u003cp>And the parade organizers have also commissioned local artists to adorn 11 life-sized, beautifully painted \u003ca href=\"https://chineseparade.com/ox-on-parade/\" target=\"_blank\" rel=\"noopener noreferrer\">ox sculptures\u003c/a> scattered around the city.\u003c/p>\n\u003cfigure id=\"attachment_13892557\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13892557\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/RS47190_IMG_5103-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS47190_IMG_5103-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS47190_IMG_5103-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS47190_IMG_5103-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS47190_IMG_5103-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS47190_IMG_5103-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS47190_IMG_5103-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Monique Zhang poses with her ox outside city hall. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An \u003ca href=\"https://www.google.com/maps/d/u/0/viewer?mid=1DxZn8FNFP24X2eufBqMktCz8-_7FnuKp&ll=37.71505217343373%2C-122.3547414&z=12\" target=\"_blank\" rel=\"noopener noreferrer\">online map\u003c/a> shows the locations of the artworks, which are on display through Mar. 14, and the event organizers have launched a \u003ca href=\"https://chineseparade.com/contest/\" target=\"_blank\" rel=\"noopener noreferrer\">social media photo contest\u003c/a>, encouraging members of of the public to submit selfies with the colorful bovines.\u003c/p>\n\u003cp>“Most people think the ox is a forceful beast,” said San Francisco artist and fashion designer \u003ca href=\"http://www.chinatownfashionweek.com/?speaker=monique-zhang\" target=\"_blank\" rel=\"noopener noreferrer\">Monique Zhang\u003c/a>, whose ox sculpture is bright yellow and orange with cute, little heart shaped flowers adorning its cheeks. “But actually in nature it’s a very gentle giant.”\u003c/p>\n\u003cp>Zhang’s artwork is located on the plaza across the street from city hall. She said the ox represents hard work, patience, honesty—qualities everyone could use right now. \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>“People are so much afraid of each other now because we can’t see where the virus is,” Zhang said. “But the heart within yourself can generate fearlessness.”\u003c/p>\n\u003cp>“Even though I wish we could have the real parade, the ox project really makes me happy,” said Deyi Robin Zhao, a young Oakland-based student at the \u003ca href=\"https://www.cca.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">California College of the Arts\u003c/a> and the artist behind two of the ox sculptures. One is a modern take on traditional blue and white Chinese porcelain motifs (located at Sacramento Plaza), and the other, adorned in pink blossoms and located at Portsmouth Square, highlights themes of springtime, strength and peace.\u003c/p>\n\u003cfigure id=\"attachment_13892558\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13892558\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/RS47191_Robin-bofa-qut.jpg\" alt=\"\" width=\"750\" height=\"542\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS47191_Robin-bofa-qut.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/RS47191_Robin-bofa-qut-160x116.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Deyi Robin Zhao works on one of her two ox sculptures. \u003ccite>(Courtesy Deyi Robin Zhao)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003c/b>“We still want to pass the love for our community and tell our community that even though we’re in this hard pandemic year, we’re still here for everybody and art still lives in our hearts with these oxen.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Chinese people in the Bay Area have been hit very hard this past year. They’ve been a target of xenophobic rhetoric and \u003ca href=\"https://www.cnn.com/2021/02/08/us/asian-american-attacks-bay-area/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">attacks\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Things have been bad for business too. According to San Francisco’s \u003ca href=\"https://www.chinatowncdc.org/8-about-us?start=4\" target=\"_blank\" rel=\"noopener noreferrer\">Chinatown Community Development Center\u003c/a>, small Chinese-owned businesses usually make 30% of their annual income in the lead up to the new year celebrations — so, as a result of the pandemic, they’ll be seeing a major drop this year. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s why longtime fan Ng said it’s especially important for people to feel a sense of community pride right now. \u003c/span>\u003c/p>\n\u003cp>In addition to celebrating Lunar New Year as usual at home, with fresh flowers, customary foods like chicken and oranges, and hongbaos\u003cspan style=\"font-weight: 400\"> (the small red paper envelopes filled with money that people give to each other as gifts) Ng is also looking forward to heading out in the coming week or two to check out the ox sculptures. She said she and her mom just got the COVID-19 vaccine. \u003c/span>\u003c/p>\n\u003cp>“You still have to try to think normal, do things normally as best as you can,” Ng said. “I mean, you don’t want to say, ‘Oh, with COVID, no Chinese New Year celebration.’ That just doesn’t work.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A disturbing video of a man shoving a 91-year-old elder to the ground in Oakland Chinatown made international headlines, and became a lightning rod in a heated debate about how to best combat anti-Asian racism and promote public safety.\u003c/p>\n\u003cp>Business leaders in Chinatown organized a press conference last Wednesday to put pressure on public officials to increase police foot patrols and surveillance cameras in the area. At the conference, Mayor Libby Schaaf pivoted from the tragedy to decry the movement to \u003ca href=\"https://www.kqed.org/news/11823958/defund-the-police-what-it-means-and-how-bay-area-cities-are-responding\" target=\"_blank\" rel=\"noopener noreferrer\">defund the police\u003c/a>—a call that emanated from racial justice protests last summer in the wake of George Floyd’s killing and police abuses against Black Americans and other people of color.\u003c/p>\n\u003cp>The racial dynamics of the situation are fraught. The Trump administration’s relentless scapegoating of Chinese people for the coronavirus has fueled hate and resentment, and anti-Asian hate crimes \u003ca href=\"https://www.thecut.com/2021/02/the-us-is-seeing-a-massive-spike-in-anti-asian-hate-crimes.html\" target=\"_blank\" rel=\"noopener noreferrer\">spiked across the country\u003c/a> in 2020. Meanwhile, because the \u003ca href=\"https://sanfrancisco.cbslocal.com/2021/02/09/update-suspect-arrested-in-oakland-chinatown-elderly-assaults/\" target=\"_blank\" rel=\"noopener noreferrer\">suspected attackers\u003c/a> in the Oakland Chinatown incident—and \u003ca href=\"https://sanfrancisco.cbslocal.com/2021/02/08/vicha-ratanapakdee-elderly-fatal-assault-suspect-antoine-watson-held-without-bail/\" target=\"_blank\" rel=\"noopener noreferrer\">another in San Francisco\u003c/a> that left an 84-year-old Thai man dead—were Black, racists have flocked to \u003ca href=\"https://twitter.com/OakMorr/status/1357178316315185158?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">social media\u003c/a> to perpetuate a false narrative of Black criminality.\u003c/p>\n\u003cp>The Oakland Police Department’s available data doesn’t conclusively point to a crime spike in Chinatown (according to data obtained by \u003ca href=\"https://oaklandside.org/2021/02/04/mayor-and-city-council-president-collide-over-policing-with-focus-on-crime-in-chinatown/\" target=\"_blank\" rel=\"noopener noreferrer\">Oaklandside\u003c/a>, overall crime reports in OPD’s Patrol Area 1, which includes Chinatown, are down 60% from last January, and robberies are down 40%). But some Chinatown leaders say that a number of attacks and robberies in recent weeks have left the community reeling, and that they need more police presence. [aside postid='arts_13880441,arts_13882499']\u003c/p>\n\u003cp>Other leaders and activists in Oakland Chinatown have taken a different approach: over 40 Asian American organizations from Oakland, San Francisco and around the Bay Area banded together to issue a \u003ca href=\"https://www.facebook.com/cpasf/photos/pcb.10158723682305211/10158723681350211/\" target=\"_blank\" rel=\"noopener noreferrer\">joint statement\u003c/a> calling for non-police safety measures that address crime at the root, such as volunteer neighborhood patrols and more culturally competent and language-accessible support for victims.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Many of the organizations represented in the statement serve working-class families, refugees, immigrants and monolingual elders—the very people who have borne the brunt of the economic fallout of the pandemic and the attendant discrimination. In a press conference yesterday, the organizers called for cross-racial unity and expressed skepticism of solutions that they say over-rely on law enforcement.\u003c/p>\n\u003cp>“In this current moment and historically—I’m just going to be explicit—policing has not meant safety for communities of color or young people,” said Stanley Pun, co-director of \u003ca href=\"https://www.aypal.org/\" target=\"_blank\" rel=\"noopener noreferrer\">AYPAL\u003c/a>, a youth nonprofit based in Oakland Chinatown that works with low-income Asian and Pacific Islander families. “We need to work together from a space of compassion, empathy and understanding to seek justice, not vengeance.”\u003c/p>\n\u003cp>Ener Chiu of the \u003ca href=\"https://ebaldc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">East Bay Asian Local Development Corporation\u003c/a>, an affordable housing nonprofit, highlighted the need for more community ambassador programs like the one his organization established two years ago. It deploys staff to clean trash and graffiti, connects merchants and residents to services and aims to foster a community atmosphere.\u003c/p>\n\u003cp>“It’s difficult to shove a senior citizen to the ground if you see yourself in them, if you have a relationship to them,” said Chiu. “It’s difficult to racially profile someone if you’re not afraid of them—if you’ve played together in our parks and recreation centers. But we need to invest in community safety and infrastructure and spaces and people who can bring those communities together and into relationship.”\u003c/p>\n\u003cp>Meanwhile, other activists and artists around the Bay Area have spoken out in solidarity and created mutual aid campaigns and fundraisers to support Oakland Chinatown’s elders. The \u003ca href=\"http://apen4ej.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Asian Pacific Environmental Network\u003c/a> has started \u003ca href=\"https://www.instagram.com/p/CK8IYzShlSY/\" target=\"_blank\" rel=\"noopener noreferrer\">soliciting volunteers\u003c/a> for a community foot patrol program they call Community Strolling. Volunteers will clean up trash, pass out red envelopes for Lunar New Year and build long-term relationships with residents, businesses and visitors in the hopes of strengthening community ties.\u003c/p>\n\u003cp>https://www.instagram.com/p/CK8IYzShlSY/\u003c/p>\n\u003cp>A group calling themselves \u003ca href=\"https://www.instagram.com/compassioninoakland/\" target=\"_blank\" rel=\"noopener noreferrer\">Compassion in Oakland\u003c/a> is also \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSfe9ao3dUPelXmX-i26bxpsMKGGZl7RnC-yvkilaTTR3pf5lg/viewform\" target=\"_blank\" rel=\"noopener noreferrer\">asking for volunteers\u003c/a> to escort Chinatown’s elders on walks and errands. There are two “Love Our People” rallies planned to condemn the violence in \u003ca href=\"https://actionnetwork.org/events/love-our-people-heal-our-communities\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland on Feb. 13\u003c/a> and \u003ca href=\"https://actionnetwork.org/events/love-our-people-heal-our-communities-sf-hosted-by-ccsj\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco on Feb. 14\u003c/a>. And writer and artist Eda Yu (who occasionally contributes to KQED Arts & Culture) and her partner Myles Thompson have organized a \u003ca href=\"https://www.gofundme.com/f/support-the-cause-against-antiasian-violence/\" target=\"_blank\" rel=\"noopener noreferrer\">GoFundMe\u003c/a> that raised over $120,000 for eight Asian American social justice organizations, including \u003ca href=\"https://stopaapihate.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Stop AAPI Hate\u003c/a> (which supports hate crime victims and advocates for restorative justice) and the \u003ca href=\"https://www.gofundme.com/f/vaccebs-mission-to-continue-the-efforts\" target=\"_blank\" rel=\"noopener noreferrer\">Vietnamese Community Center\u003c/a>, which delivers 30,000 meals a month, mostly to elders. The center burned down last week in an accidental fire.\u003c/p>\n\u003cp>Joining these calls for justice, Oakland rapper and Dope Era Clothing owner Mistah F.A.B. used his platform to advocate for Black and Asian unity in the face of white supremacy. “I can feel the frustration, the rage, the hurt, the hate,” he said on \u003ca href=\"https://www.instagram.com/p/CK46jnAFOmd/\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram\u003c/a>. Addressing the Black and Asian communities, he continued, “Us as the minorities, man, there’s already a war against us. And if we go to war with each other, then it’s more war, and they sit back and they’re laughing at us.”\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Asian American leaders have issued similar pleas. “I’ve seen the pitting of communities against each other,” said Lai Wa Wu of the \u003ca href=\"https://cpasf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Progressive Association\u003c/a>, an organization that supports working-class immigrants, at yesterday’s press conference. “But I have also seen the strength and the hope that have been summoned through the difficult conversations we’ve held, the ways we’ve created space to name our communities’ grief, speak to our ignored needs, let others bear witness and also holding faith in everyone’s potential to heal.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was updated to include information about the “Love Our People” rallies. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A disturbing video of a man shoving a 91-year-old elder to the ground in Oakland Chinatown made international headlines, and became a lightning rod in a heated debate about how to best combat anti-Asian racism and promote public safety.\u003c/p>\n\u003cp>Business leaders in Chinatown organized a press conference last Wednesday to put pressure on public officials to increase police foot patrols and surveillance cameras in the area. At the conference, Mayor Libby Schaaf pivoted from the tragedy to decry the movement to \u003ca href=\"https://www.kqed.org/news/11823958/defund-the-police-what-it-means-and-how-bay-area-cities-are-responding\" target=\"_blank\" rel=\"noopener noreferrer\">defund the police\u003c/a>—a call that emanated from racial justice protests last summer in the wake of George Floyd’s killing and police abuses against Black Americans and other people of color.\u003c/p>\n\u003cp>The racial dynamics of the situation are fraught. The Trump administration’s relentless scapegoating of Chinese people for the coronavirus has fueled hate and resentment, and anti-Asian hate crimes \u003ca href=\"https://www.thecut.com/2021/02/the-us-is-seeing-a-massive-spike-in-anti-asian-hate-crimes.html\" target=\"_blank\" rel=\"noopener noreferrer\">spiked across the country\u003c/a> in 2020. Meanwhile, because the \u003ca href=\"https://sanfrancisco.cbslocal.com/2021/02/09/update-suspect-arrested-in-oakland-chinatown-elderly-assaults/\" target=\"_blank\" rel=\"noopener noreferrer\">suspected attackers\u003c/a> in the Oakland Chinatown incident—and \u003ca href=\"https://sanfrancisco.cbslocal.com/2021/02/08/vicha-ratanapakdee-elderly-fatal-assault-suspect-antoine-watson-held-without-bail/\" target=\"_blank\" rel=\"noopener noreferrer\">another in San Francisco\u003c/a> that left an 84-year-old Thai man dead—were Black, racists have flocked to \u003ca href=\"https://twitter.com/OakMorr/status/1357178316315185158?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">social media\u003c/a> to perpetuate a false narrative of Black criminality.\u003c/p>\n\u003cp>The Oakland Police Department’s available data doesn’t conclusively point to a crime spike in Chinatown (according to data obtained by \u003ca href=\"https://oaklandside.org/2021/02/04/mayor-and-city-council-president-collide-over-policing-with-focus-on-crime-in-chinatown/\" target=\"_blank\" rel=\"noopener noreferrer\">Oaklandside\u003c/a>, overall crime reports in OPD’s Patrol Area 1, which includes Chinatown, are down 60% from last January, and robberies are down 40%). But some Chinatown leaders say that a number of attacks and robberies in recent weeks have left the community reeling, and that they need more police presence. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Other leaders and activists in Oakland Chinatown have taken a different approach: over 40 Asian American organizations from Oakland, San Francisco and around the Bay Area banded together to issue a \u003ca href=\"https://www.facebook.com/cpasf/photos/pcb.10158723682305211/10158723681350211/\" target=\"_blank\" rel=\"noopener noreferrer\">joint statement\u003c/a> calling for non-police safety measures that address crime at the root, such as volunteer neighborhood patrols and more culturally competent and language-accessible support for victims.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Many of the organizations represented in the statement serve working-class families, refugees, immigrants and monolingual elders—the very people who have borne the brunt of the economic fallout of the pandemic and the attendant discrimination. In a press conference yesterday, the organizers called for cross-racial unity and expressed skepticism of solutions that they say over-rely on law enforcement.\u003c/p>\n\u003cp>“In this current moment and historically—I’m just going to be explicit—policing has not meant safety for communities of color or young people,” said Stanley Pun, co-director of \u003ca href=\"https://www.aypal.org/\" target=\"_blank\" rel=\"noopener noreferrer\">AYPAL\u003c/a>, a youth nonprofit based in Oakland Chinatown that works with low-income Asian and Pacific Islander families. “We need to work together from a space of compassion, empathy and understanding to seek justice, not vengeance.”\u003c/p>\n\u003cp>Ener Chiu of the \u003ca href=\"https://ebaldc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">East Bay Asian Local Development Corporation\u003c/a>, an affordable housing nonprofit, highlighted the need for more community ambassador programs like the one his organization established two years ago. It deploys staff to clean trash and graffiti, connects merchants and residents to services and aims to foster a community atmosphere.\u003c/p>\n\u003cp>“It’s difficult to shove a senior citizen to the ground if you see yourself in them, if you have a relationship to them,” said Chiu. “It’s difficult to racially profile someone if you’re not afraid of them—if you’ve played together in our parks and recreation centers. But we need to invest in community safety and infrastructure and spaces and people who can bring those communities together and into relationship.”\u003c/p>\n\u003cp>Meanwhile, other activists and artists around the Bay Area have spoken out in solidarity and created mutual aid campaigns and fundraisers to support Oakland Chinatown’s elders. The \u003ca href=\"http://apen4ej.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Asian Pacific Environmental Network\u003c/a> has started \u003ca href=\"https://www.instagram.com/p/CK8IYzShlSY/\" target=\"_blank\" rel=\"noopener noreferrer\">soliciting volunteers\u003c/a> for a community foot patrol program they call Community Strolling. Volunteers will clean up trash, pass out red envelopes for Lunar New Year and build long-term relationships with residents, businesses and visitors in the hopes of strengthening community ties.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A group calling themselves \u003ca href=\"https://www.instagram.com/compassioninoakland/\" target=\"_blank\" rel=\"noopener noreferrer\">Compassion in Oakland\u003c/a> is also \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSfe9ao3dUPelXmX-i26bxpsMKGGZl7RnC-yvkilaTTR3pf5lg/viewform\" target=\"_blank\" rel=\"noopener noreferrer\">asking for volunteers\u003c/a> to escort Chinatown’s elders on walks and errands. There are two “Love Our People” rallies planned to condemn the violence in \u003ca href=\"https://actionnetwork.org/events/love-our-people-heal-our-communities\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland on Feb. 13\u003c/a> and \u003ca href=\"https://actionnetwork.org/events/love-our-people-heal-our-communities-sf-hosted-by-ccsj\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco on Feb. 14\u003c/a>. And writer and artist Eda Yu (who occasionally contributes to KQED Arts & Culture) and her partner Myles Thompson have organized a \u003ca href=\"https://www.gofundme.com/f/support-the-cause-against-antiasian-violence/\" target=\"_blank\" rel=\"noopener noreferrer\">GoFundMe\u003c/a> that raised over $120,000 for eight Asian American social justice organizations, including \u003ca href=\"https://stopaapihate.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Stop AAPI Hate\u003c/a> (which supports hate crime victims and advocates for restorative justice) and the \u003ca href=\"https://www.gofundme.com/f/vaccebs-mission-to-continue-the-efforts\" target=\"_blank\" rel=\"noopener noreferrer\">Vietnamese Community Center\u003c/a>, which delivers 30,000 meals a month, mostly to elders. The center burned down last week in an accidental fire.\u003c/p>\n\u003cp>Joining these calls for justice, Oakland rapper and Dope Era Clothing owner Mistah F.A.B. used his platform to advocate for Black and Asian unity in the face of white supremacy. “I can feel the frustration, the rage, the hurt, the hate,” he said on \u003ca href=\"https://www.instagram.com/p/CK46jnAFOmd/\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram\u003c/a>. Addressing the Black and Asian communities, he continued, “Us as the minorities, man, there’s already a war against us. And if we go to war with each other, then it’s more war, and they sit back and they’re laughing at us.”\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Asian American leaders have issued similar pleas. “I’ve seen the pitting of communities against each other,” said Lai Wa Wu of the \u003ca href=\"https://cpasf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Progressive Association\u003c/a>, an organization that supports working-class immigrants, at yesterday’s press conference. “But I have also seen the strength and the hope that have been summoned through the difficult conversations we’ve held, the ways we’ve created space to name our communities’ grief, speak to our ignored needs, let others bear witness and also holding faith in everyone’s potential to heal.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was updated to include information about the “Love Our People” rallies. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'They're OK': How One Journalist Experienced the Search for Two Kidnapped Children",
"headTitle": "‘They’re OK’: How One Journalist Experienced the Search for Two Kidnapped Children | KQED",
"content": "\u003cp>Journalists who report on cities know this phone call, this scenario, nearly down to the detail: It’s the middle of the night, you’re at home unwinding in your pajamas, maybe with your latest TV-binge obsession, maybe snuggled next to a loved one, when the phone rings.\u003c/p>\n\u003cp>It could just be a personal call. Or it could be a news tip so compelling that everyone in your audience needs to know, \u003cem>now\u003c/em>. You have to pick it up — because you never know.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13892520\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/JoeFitz.Bio_-160x166.jpg\" alt=\"\" width=\"160\" height=\"166\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/JoeFitz.Bio_-160x166.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/JoeFitz.Bio_.jpg 400w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>You tap that green phone button, and someone on the other end outlines a grave situation. Mayor Ed Lee \u003ca href=\"https://www.sfexaminer.com/news/san-francisco-mayor-ed-lee-dies-at-age-65/\">just died\u003c/a>. There’s an active shooter on a hospital rooftop. A wildfire is taking a turn for the worse, \u003ca href=\"https://www.kqed.org/news/11844521/when-wildfire-breaks-out-during-a-pandemic-whos-responsible-for-elderly-evacuees\">prompting mass evacuations\u003c/a>. You’ve got to \u003cem>go\u003c/em>.\u003c/p>\n\u003cp>This past Saturday night, I got a call much like those others. San Francisco resident and DoorDash delivery driver Jeffrey Fang’s two toddlers, Winnifred and Sean, aged 4 and 1, were in the backseat of his silver Honda Odyssey minivan when it was carjacked.\u003c/p>\n\u003cp>Jeffrey was making a DoorDash delivery in Pacific Heights, leaving his engine on while bringing the bag of food to a front door. That’s when he spotted a stranger in his vehicle. A struggle ensued, which ended with Jeffrey’s car stolen, his children still inside.\u003c/p>\n\u003cp>The story was equal in gravity to so many news incidents I’ve covered. But this time, the horrific story was personal.\u003c/p>\n\u003cp>Jeffrey is my friend.\u003c/p>\n\u003ch3>Trekkies Together\u003c/h3>\n\u003cp>I admit it: Somewhere in my closet, I own a\u003ca href=\"https://www.forbes.com/sites/alexknapp/2012/03/13/five-leadership-lessons-from-jean-luc-picard/?sh=37afcdd350a7\"> Captain Jean-Luc Picard\u003c/a> costume. But then again, so does Jeffrey. (His is much nicer).\u003c/p>\n\u003cp>For almost ten years, we’ve debated the merits of Star Trek’s goofy, makeup-laden societal allegories, having bonded over the show when we were City College of San Francisco students — \u003ca href=\"https://issuu.com/theguardsmanonline/docs/vol153issue1\">me a student journalist\u003c/a>, him a student representative on the college board. Jeffrey’s been one of the few people I’ve hung out with, socially-distantly, since March. He asked me to be a pallbearer at his father’s funeral. When the damned pandemic is \u003cem>finally \u003c/em>over and my fiancee and I can \u003cem>finally\u003c/em> have a proper big wedding, his invitation is near the top of the list.\u003c/p>\n\u003cfigure id=\"attachment_11859579\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11859579\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/02/JeffreyFang2012-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Fang blowing bubbles on Golden Gate Park’s Hippie Hill in 2012. KQED reporter Joe Fitzgerald Rodriguez took the photo.\u003c/figcaption>\u003c/figure>\n\u003cp>So, suffice to say, I didn’t expect \u003cem>that call \u003c/em>from Jeffrey.\u003c/p>\n\u003cp>On the phone Saturday night, his voice was strained but focused. “I’m sorry to ask you this, Joe, but my car was just stolen with two of my children inside. I need your help to reach every TV station you can, to get the word out.”\u003c/p>\n\u003cp>He’s already talked to the police. But Jeffrey was right: as a journalist, I had unique connections with TV reporters, police, and community members of all stripes. I got as much information as I could—the make and model of the minivan, exact spelling of his children’s names, along with photos of them—and started making calls.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By 10:30 p.m., colleagues at various TV stations across the Bay Area were themselves mobilizing from their cozy Saturday nights to run the story. On the 11 o’clock news, the same photos Jeffrey sent me splashed across nearly every newscast.\u003c/p>\n\u003cp>I may not have been writing news that night, but I was in what I think of as my \u003cem>breaking news mode\u003c/em>. The adrenaline pumps. You’re alert, like you had a dozen cups of coffee, without the jitters. You’re ticking off mental boxes of what you need to do.\u003c/p>\n\u003cp>My fiancee, Anna Kaminski, sat by my side as we followed every development on the local police scanner.\u003c/p>\n\u003cp>A Silver Honda Odyssey was spotted in the Mission. An officer checked a section of Golden Gate Park and found nothing. A description of Jeffrey’s children was repeated, again, and again. This was like so many news events I had been part of before, and much like those incidents, the adrenaline suppressed the fear, suppressed the sadness.\u003c/p>\n\u003cp>https://twitter.com/FitzTheReporter/status/1358320044124504064\u003c/p>\n\u003cp>Anna and I decided to head out to Pacific Heights and offer our support to Jeffrey, in person. I just had one last thing to do, the only other thing I \u003cem>could\u003c/em> do, in my profession.\u003c/p>\n\u003cp>Tweet.\u003c/p>\n\u003cp>Little did I know how much it would echo. Partially in response to that tweet, to the TV coverage, and the Amber Alert that would later come from the police, it wouldn’t be long before the entire Bay Area would rise up to help Jeffrey’s family.\u003c/p>\n\u003cp>All of you are part of this story, too.\u003c/p>\n\u003cfigure id=\"attachment_11859588\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11859588 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/02/Screenshot_20210209-190651_Messages-800x665.jpg\" alt=\"\" width=\"800\" height=\"665\">\u003cfigcaption class=\"wp-caption-text\">A community member sends Joe Fitzgerald Rodriguez a text message coordinating a search for Jeffrey Fang’s kids.\u003c/figcaption>\u003c/figure>\n\u003ch3>Joining the Search\u003c/h3>\n\u003cp>At least an hour before the police’s Amber Alert went out, I tweeted from my account, @FitztheReporter, “MISSING CHILDREN PLEASE HELP,” along with the details of Jeffrey’s plight.\u003c/p>\n\u003cp>Within hours, the Tweet had been seen by hundreds of thousands of people. By the time Jeffrey’s kids were found, unharmed, the tweet was viewed more than 2.5 million times.\u003c/p>\n\u003cp>Many chimed in on Twitter, and elsewhere, offering to help.\u003c/p>\n\u003cp>\u003cem>“I’ll spread the word.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>“I just cross-posted this to an East Bay / Alameda group on Facebook.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>“I’m spreading this alert to SF friends.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>“I could put the word out in a taxi driver group chat.”\u003c/em>\u003c/p>\n\u003cp>Thousands of people in the Bay Area and beyond tweeted, retweeted, and did even more. Across San Francisco, people told me they walked around their own neighborhoods, or drove across the city, helping to be eyes and ears for Jeffrey’s kids.\u003c/p>\n\u003cp>The Bay Area turned out for one of its own.\u003c/p>\n\u003cp>I wonder if the sheer volume of the Bay Area’s concern for these children at all compelled the carjackers to rethink their plan. I suppose I might never know.\u003c/p>\n\u003cp>https://twitter.com/MichelleFranck/status/1358313800173199361\u003c/p>\n\u003ch3>‘They’re OK’\u003c/h3>\n\u003cp>Still scrolling social media replies with my face in my phone, hoping to find someone, somewhere, who spotted the kids, my fiancee and I gathered our gear to hunker down for the night: blankets, pillows, water, spare phone batteries, and snacks.\u003c/p>\n\u003cp>She drove (and I doom-scrolled) on the way from her home in Oakland to San Francisco to help Jeffrey keep his sanity.\u003c/p>\n\u003cp>My fiancee and I got to Jackson and Laguna streets at about 12:30 pm. I know the neighborhood well, as I grew up just nine blocks away, down the hill, toward the water.\u003c/p>\n\u003cfigure id=\"attachment_11859584\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11859584 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/02/Screenshot_20210206-220635_Citizen-800x1112.jpg\" alt=\"\" width=\"800\" height=\"1112\">\u003cfigcaption class=\"wp-caption-text\">A screenshot of the Citizen app alerting its users to the stolen vehicle with Jeffrey Fang’s children, Winnifred and Sean, inside.\u003c/figcaption>\u003c/figure>\n\u003cp>Nearly a dozen uniformed police stood nearby. One marked SFPD car blocked the street at either end of the block. Jeffrey stood at a corner, masked, speaking to plainclothes cops when we walked up. I grasped McDonald’s bags in one hand, coffee in the other, hoping a full stomach would calm his nerves, but he refused to eat. He took the coffee, at least.\u003c/p>\n\u003cp>That’s when his mind started to drift into perilous waters.\u003c/p>\n\u003cp>What if the carjackers, worried they would be accused as kidnappers, did the worst to his children to hide the evidence? What if they let Winnifred and Sean out of the minivan on a street, and they were struck by a vehicle? What if? What if? What if?\u003c/p>\n\u003cp>Anna and I tried to calm his nerves as best we could. In a very community-minded moment, a local organizer named Max Leung, who volunteered to search for the kids, also stopped by and offered Jeffrey moral support. The pandemic made comforting our friend harder than it should have been — we stood, as you can guess, socially distantly.\u003c/p>\n\u003cp>I offered to turn on the police scanner, for Jeffrey to follow the search in real-time. He said no, he could only bear to hear the news when it came in a definitive manner, good or bad.\u003c/p>\n\u003cp>We didn’t stand there together long before one of the plainclothes cops called out, “Jeffrey, can you come here?” He held his hand out and cocked his fingers toward himself.\u003c/p>\n\u003cp>Jeffrey walked over. My stomach clenched.\u003c/p>\n\u003cp>“They’re OK,” he said.\u003c/p>\n\u003cp>I couldn’t hear the rest. But I could see Jeffrey’s back was to me. I watched his shoulders slump, the tension visibly fading from his body.\u003c/p>\n\u003cp>Anna and I shouted out. Leung, too. I threw my own cup of coffee behind me out of shock and joy. As it fell behind Anna and splattered next to a tree, I wrapped my arms around her as hard as I could, laughing from relief. Police from Bayview Station had found Jeffrey’s children.\u003c/p>\n\u003cp>In minutes, Jeffrey sat in a police vehicle, finally heading toward his kids. Doing what any journalist would do, I took to Twitter to let everyone know Winnifred and Sean were safe.\u003c/p>\n\u003cp>https://twitter.com/SVscanners/status/1358363844586868738?s=19\u003c/p>\n\u003ch3>A Story Everyone Could Relate To\u003c/h3>\n\u003cp>Once home, the emotions still hadn’t hit. I was too exhausted. This often happens after covering a heavy news story — the armor takes time to come down, the emotions take time to bubble up.\u003c/p>\n\u003cp>Still wired, I turned back to Twitter.\u003c/p>\n\u003cp>It was about 1:30 a.m. when Kim-Mai Cutler,\u003ca href=\"https://techcrunch.com/2014/04/14/sf-housing/\"> a journalist\u003c/a> and partner at Initialized Capital, reached out to me in a DM. We talk once in a while, and she offered wise counsel that night.\u003c/p>\n\u003cp>“Put up a GoFundMe for the dad. His family needs a break,” she wrote.\u003c/p>\n\u003cp>She was the second person to say so. Another dozen or so people had already asked me for his Venmo information, to offer Jeffrey’s family support. As a journalist, it was something \u003ca href=\"https://www.spj.org/ethicscode.asp\">I ordinarily wouldn’t do \u003c/a>— but again, Jeffrey was my friend, not a source.\u003c/p>\n\u003cp>So I set up the account. The Fang family’s story had clearly resonated with people, and days later, at the time of this writing, \u003ca href=\"https://www.gofundme.com/f/help-the-fang-family-after-children-abducted\">more than 3,300 have donated\u003c/a> to help them recuperate, and heal from the trauma of the night.\u003c/p>\n\u003cp>That’s $136,910, to be exact, as of this writing. Easily more than a year’s worth of Jeffrey’s earnings, and counting.\u003c/p>\n\u003cp>https://twitter.com/henrykleeKTVU/status/1358767878778986496\u003c/p>\n\u003cp>I got to play my own small role lighting a spark to help Jeffrey, but it was only the beginning of something much bigger than either of us. The teams of police canvassing the city for his children, the small army of Bay Area folks going outside their homes in a pandemic to help, or the literal tens of thousands who spread the word—they’re the flame.\u003c/p>\n\u003cp>Maybe \u003cem>you’ve \u003c/em>felt this way too: During the pandemic, with some of us stuck inside so often (with the obvious exception of our essential workers), it can seem like the webs of our lives have had all the threads snipped, one by one. The loneliness can be overbearing. But over the weekend, when my good friend needed it most, when he feared the worst — the unimaginable — for his children, it felt like all of the Bay Area’s human connections were woven together again — like thousands of Golden Gate Bridges built in the span of a few hours, with everyone in the community I love marching across in solidarity to lift Jeffrey and his family onto their shoulders.\u003c/p>\n\u003cp>It was Sunday, a day later, when the enormity of everything you all did hit me. The sobs that wracked me were happy ones.\u003c/p>\n\u003ch3>Why Jeffrey’s Story is Really All of Us\u003c/h3>\n\u003cp>Those who felt for Jeffrey’s family fall into two main camps.\u003c/p>\n\u003cp>Many empathized with him as a hard-working father from China who has been in the US for most of his adult life, an immigrant who became a citizen here, who over many long hours behind the wheel for various gig economy companies afforded to bring over his wife and three children to the United States right at the beginning of the pandemic.\u003c/p>\n\u003cp>Donors called out this story again and again in the GoFundMe comments:\u003c/p>\n\u003cp>\u003cem>“I come from a Korean immigrant family, and know the joys but also the struggle. Please know that there is far more good in the world than evil, and your sacrifices for your children are beautiful and worthy. Sending all love to you Fang family.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>“I’m a child of immigrant parents and know how hard it was for my parents to raise two kids and make an honest living through hard work and sacrifice. Jeffrey Fang is trying to do this during a worldwide Pandemic. Best of luck and all the health and happiness to you and your family.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>“From one immigrant’s family to another, we hope this will help. We understand the struggle. With hard work, it will get better in time.”\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11859590\" class=\"wp-caption alignnone\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11859590\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/02/JeffreyFam2.jpg\" alt=\"\" width=\"1500\" height=\"1000\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Fang and two of his three children, Winnifred and Sean, Feb. 2021. \u003cem>(Chris Victorio/Courtesy of the S.F. Examiner)\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>Others who donated money said in GoFundMe comments that they found solidarity in his life as an Uber and Lyft driver-turned DoorDash driver, in the ever-precarious gig economy:\u003c/p>\n\u003cp>\u003cem>“Tech Workers For Tech Workers.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>“I really felt for this family when I saw this on the news. This pandemic has been challenging for so many people. Working as a food delivery driver is tough enough. How difficult it must have been for him to juggle work and babysitting the kids. So glad there are so many kind hearted people reaching out to help this family.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>“I’m sorry for your trauma and wish you a full recovery. My parents used to leave my siblings and me in the car while making deliveries in the ’80s. The immigrant/refugee struggle is real. Your hard work will not go unnoticed, and your children will be better because of it. You make this country great, thank you!”\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11859595\" class=\"wp-caption alignright\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11859595\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/02/Screenshot_20210208-084541_Chrome.jpg\" alt=\"\" width=\"1080\" height=\"1471\">\u003cfigcaption class=\"wp-caption-text\">An excerpt from a GoFundMe for DoorDash driver Jeffrey Fang, whose children were abducted Feb. 6, 2021.\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, the Fang family’s story hit \u003cem>\u003ca href=\"https://www.washingtonpost.com/nation/2021/02/07/doordash-driver-kids-car/\">The Washington Post\u003c/a>, \u003ca href=\"https://www.vice.com/en/article/4adpmq/a-doordash-drivers-van-was-stolen-with-his-two-kids-inside\">Vice\u003c/a>,\u003c/em> and nearly every \u003ca href=\"https://abc7news.com/san-francisco-car-theft-2-kids-stolen-while-dad-delivers-doordash-order-sf-robbery-jackson-street/10320623/\">local TV station\u003c/a>, radio station, and news outlet you can think of. Thousands upon thousands of people responded to those stories on social media.\u003c/p>\n\u003cp>Jeffrey acknowledged the Bay Area’s support in an interview with my KQED colleague, Sara Hossaini.\u003c/p>\n\u003cp>“I know they helped me look, they pitched in massively to help looking for my children, which I’m eternally grateful for,” Jeffrey told her.\u003c/p>\n\u003cp>And as for his kids? How were they?\u003c/p>\n\u003cp>Sean is too young to say what he saw. But Winnifred apparently slept through the whole ordeal.\u003c/p>\n\u003cp>“She told me the only thing she remembers is waking up to police showing up at the car,” Jeffrey said, “So I am honestly quite thankful for that. Quite thankful.”\u003c/p>\n\u003cp>And as for me?\u003c/p>\n\u003cp>Much like Jeffrey, I’m quite thankful for all of you, too.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "When I got the call that my friend Jeffrey Fang's two children had been abducted in a carjacking, I knew it wouldn't be an ordinary night of breaking news.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Journalists who report on cities know this phone call, this scenario, nearly down to the detail: It’s the middle of the night, you’re at home unwinding in your pajamas, maybe with your latest TV-binge obsession, maybe snuggled next to a loved one, when the phone rings.\u003c/p>\n\u003cp>It could just be a personal call. Or it could be a news tip so compelling that everyone in your audience needs to know, \u003cem>now\u003c/em>. You have to pick it up — because you never know.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13892520\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/JoeFitz.Bio_-160x166.jpg\" alt=\"\" width=\"160\" height=\"166\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/JoeFitz.Bio_-160x166.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/JoeFitz.Bio_.jpg 400w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>You tap that green phone button, and someone on the other end outlines a grave situation. Mayor Ed Lee \u003ca href=\"https://www.sfexaminer.com/news/san-francisco-mayor-ed-lee-dies-at-age-65/\">just died\u003c/a>. There’s an active shooter on a hospital rooftop. A wildfire is taking a turn for the worse, \u003ca href=\"https://www.kqed.org/news/11844521/when-wildfire-breaks-out-during-a-pandemic-whos-responsible-for-elderly-evacuees\">prompting mass evacuations\u003c/a>. You’ve got to \u003cem>go\u003c/em>.\u003c/p>\n\u003cp>This past Saturday night, I got a call much like those others. San Francisco resident and DoorDash delivery driver Jeffrey Fang’s two toddlers, Winnifred and Sean, aged 4 and 1, were in the backseat of his silver Honda Odyssey minivan when it was carjacked.\u003c/p>\n\u003cp>Jeffrey was making a DoorDash delivery in Pacific Heights, leaving his engine on while bringing the bag of food to a front door. That’s when he spotted a stranger in his vehicle. A struggle ensued, which ended with Jeffrey’s car stolen, his children still inside.\u003c/p>\n\u003cp>The story was equal in gravity to so many news incidents I’ve covered. But this time, the horrific story was personal.\u003c/p>\n\u003cp>Jeffrey is my friend.\u003c/p>\n\u003ch3>Trekkies Together\u003c/h3>\n\u003cp>I admit it: Somewhere in my closet, I own a\u003ca href=\"https://www.forbes.com/sites/alexknapp/2012/03/13/five-leadership-lessons-from-jean-luc-picard/?sh=37afcdd350a7\"> Captain Jean-Luc Picard\u003c/a> costume. But then again, so does Jeffrey. (His is much nicer).\u003c/p>\n\u003cp>For almost ten years, we’ve debated the merits of Star Trek’s goofy, makeup-laden societal allegories, having bonded over the show when we were City College of San Francisco students — \u003ca href=\"https://issuu.com/theguardsmanonline/docs/vol153issue1\">me a student journalist\u003c/a>, him a student representative on the college board. Jeffrey’s been one of the few people I’ve hung out with, socially-distantly, since March. He asked me to be a pallbearer at his father’s funeral. When the damned pandemic is \u003cem>finally \u003c/em>over and my fiancee and I can \u003cem>finally\u003c/em> have a proper big wedding, his invitation is near the top of the list.\u003c/p>\n\u003cfigure id=\"attachment_11859579\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11859579\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/02/JeffreyFang2012-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Fang blowing bubbles on Golden Gate Park’s Hippie Hill in 2012. KQED reporter Joe Fitzgerald Rodriguez took the photo.\u003c/figcaption>\u003c/figure>\n\u003cp>So, suffice to say, I didn’t expect \u003cem>that call \u003c/em>from Jeffrey.\u003c/p>\n\u003cp>On the phone Saturday night, his voice was strained but focused. “I’m sorry to ask you this, Joe, but my car was just stolen with two of my children inside. I need your help to reach every TV station you can, to get the word out.”\u003c/p>\n\u003cp>He’s already talked to the police. But Jeffrey was right: as a journalist, I had unique connections with TV reporters, police, and community members of all stripes. I got as much information as I could—the make and model of the minivan, exact spelling of his children’s names, along with photos of them—and started making calls.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By 10:30 p.m., colleagues at various TV stations across the Bay Area were themselves mobilizing from their cozy Saturday nights to run the story. On the 11 o’clock news, the same photos Jeffrey sent me splashed across nearly every newscast.\u003c/p>\n\u003cp>I may not have been writing news that night, but I was in what I think of as my \u003cem>breaking news mode\u003c/em>. The adrenaline pumps. You’re alert, like you had a dozen cups of coffee, without the jitters. You’re ticking off mental boxes of what you need to do.\u003c/p>\n\u003cp>My fiancee, Anna Kaminski, sat by my side as we followed every development on the local police scanner.\u003c/p>\n\u003cp>A Silver Honda Odyssey was spotted in the Mission. An officer checked a section of Golden Gate Park and found nothing. A description of Jeffrey’s children was repeated, again, and again. This was like so many news events I had been part of before, and much like those incidents, the adrenaline suppressed the fear, suppressed the sadness.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Anna and I decided to head out to Pacific Heights and offer our support to Jeffrey, in person. I just had one last thing to do, the only other thing I \u003cem>could\u003c/em> do, in my profession.\u003c/p>\n\u003cp>Tweet.\u003c/p>\n\u003cp>Little did I know how much it would echo. Partially in response to that tweet, to the TV coverage, and the Amber Alert that would later come from the police, it wouldn’t be long before the entire Bay Area would rise up to help Jeffrey’s family.\u003c/p>\n\u003cp>All of you are part of this story, too.\u003c/p>\n\u003cfigure id=\"attachment_11859588\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11859588 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/02/Screenshot_20210209-190651_Messages-800x665.jpg\" alt=\"\" width=\"800\" height=\"665\">\u003cfigcaption class=\"wp-caption-text\">A community member sends Joe Fitzgerald Rodriguez a text message coordinating a search for Jeffrey Fang’s kids.\u003c/figcaption>\u003c/figure>\n\u003ch3>Joining the Search\u003c/h3>\n\u003cp>At least an hour before the police’s Amber Alert went out, I tweeted from my account, @FitztheReporter, “MISSING CHILDREN PLEASE HELP,” along with the details of Jeffrey’s plight.\u003c/p>\n\u003cp>Within hours, the Tweet had been seen by hundreds of thousands of people. By the time Jeffrey’s kids were found, unharmed, the tweet was viewed more than 2.5 million times.\u003c/p>\n\u003cp>Many chimed in on Twitter, and elsewhere, offering to help.\u003c/p>\n\u003cp>\u003cem>“I’ll spread the word.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>“I just cross-posted this to an East Bay / Alameda group on Facebook.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>“I’m spreading this alert to SF friends.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>“I could put the word out in a taxi driver group chat.”\u003c/em>\u003c/p>\n\u003cp>Thousands of people in the Bay Area and beyond tweeted, retweeted, and did even more. Across San Francisco, people told me they walked around their own neighborhoods, or drove across the city, helping to be eyes and ears for Jeffrey’s kids.\u003c/p>\n\u003cp>The Bay Area turned out for one of its own.\u003c/p>\n\u003cp>I wonder if the sheer volume of the Bay Area’s concern for these children at all compelled the carjackers to rethink their plan. I suppose I might never know.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003ch3>‘They’re OK’\u003c/h3>\n\u003cp>Still scrolling social media replies with my face in my phone, hoping to find someone, somewhere, who spotted the kids, my fiancee and I gathered our gear to hunker down for the night: blankets, pillows, water, spare phone batteries, and snacks.\u003c/p>\n\u003cp>She drove (and I doom-scrolled) on the way from her home in Oakland to San Francisco to help Jeffrey keep his sanity.\u003c/p>\n\u003cp>My fiancee and I got to Jackson and Laguna streets at about 12:30 pm. I know the neighborhood well, as I grew up just nine blocks away, down the hill, toward the water.\u003c/p>\n\u003cfigure id=\"attachment_11859584\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11859584 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/02/Screenshot_20210206-220635_Citizen-800x1112.jpg\" alt=\"\" width=\"800\" height=\"1112\">\u003cfigcaption class=\"wp-caption-text\">A screenshot of the Citizen app alerting its users to the stolen vehicle with Jeffrey Fang’s children, Winnifred and Sean, inside.\u003c/figcaption>\u003c/figure>\n\u003cp>Nearly a dozen uniformed police stood nearby. One marked SFPD car blocked the street at either end of the block. Jeffrey stood at a corner, masked, speaking to plainclothes cops when we walked up. I grasped McDonald’s bags in one hand, coffee in the other, hoping a full stomach would calm his nerves, but he refused to eat. He took the coffee, at least.\u003c/p>\n\u003cp>That’s when his mind started to drift into perilous waters.\u003c/p>\n\u003cp>What if the carjackers, worried they would be accused as kidnappers, did the worst to his children to hide the evidence? What if they let Winnifred and Sean out of the minivan on a street, and they were struck by a vehicle? What if? What if? What if?\u003c/p>\n\u003cp>Anna and I tried to calm his nerves as best we could. In a very community-minded moment, a local organizer named Max Leung, who volunteered to search for the kids, also stopped by and offered Jeffrey moral support. The pandemic made comforting our friend harder than it should have been — we stood, as you can guess, socially distantly.\u003c/p>\n\u003cp>I offered to turn on the police scanner, for Jeffrey to follow the search in real-time. He said no, he could only bear to hear the news when it came in a definitive manner, good or bad.\u003c/p>\n\u003cp>We didn’t stand there together long before one of the plainclothes cops called out, “Jeffrey, can you come here?” He held his hand out and cocked his fingers toward himself.\u003c/p>\n\u003cp>Jeffrey walked over. My stomach clenched.\u003c/p>\n\u003cp>“They’re OK,” he said.\u003c/p>\n\u003cp>I couldn’t hear the rest. But I could see Jeffrey’s back was to me. I watched his shoulders slump, the tension visibly fading from his body.\u003c/p>\n\u003cp>Anna and I shouted out. Leung, too. I threw my own cup of coffee behind me out of shock and joy. As it fell behind Anna and splattered next to a tree, I wrapped my arms around her as hard as I could, laughing from relief. Police from Bayview Station had found Jeffrey’s children.\u003c/p>\n\u003cp>In minutes, Jeffrey sat in a police vehicle, finally heading toward his kids. Doing what any journalist would do, I took to Twitter to let everyone know Winnifred and Sean were safe.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003ch3>A Story Everyone Could Relate To\u003c/h3>\n\u003cp>Once home, the emotions still hadn’t hit. I was too exhausted. This often happens after covering a heavy news story — the armor takes time to come down, the emotions take time to bubble up.\u003c/p>\n\u003cp>Still wired, I turned back to Twitter.\u003c/p>\n\u003cp>It was about 1:30 a.m. when Kim-Mai Cutler,\u003ca href=\"https://techcrunch.com/2014/04/14/sf-housing/\"> a journalist\u003c/a> and partner at Initialized Capital, reached out to me in a DM. We talk once in a while, and she offered wise counsel that night.\u003c/p>\n\u003cp>“Put up a GoFundMe for the dad. His family needs a break,” she wrote.\u003c/p>\n\u003cp>She was the second person to say so. Another dozen or so people had already asked me for his Venmo information, to offer Jeffrey’s family support. As a journalist, it was something \u003ca href=\"https://www.spj.org/ethicscode.asp\">I ordinarily wouldn’t do \u003c/a>— but again, Jeffrey was my friend, not a source.\u003c/p>\n\u003cp>So I set up the account. The Fang family’s story had clearly resonated with people, and days later, at the time of this writing, \u003ca href=\"https://www.gofundme.com/f/help-the-fang-family-after-children-abducted\">more than 3,300 have donated\u003c/a> to help them recuperate, and heal from the trauma of the night.\u003c/p>\n\u003cp>That’s $136,910, to be exact, as of this writing. Easily more than a year’s worth of Jeffrey’s earnings, and counting.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>I got to play my own small role lighting a spark to help Jeffrey, but it was only the beginning of something much bigger than either of us. The teams of police canvassing the city for his children, the small army of Bay Area folks going outside their homes in a pandemic to help, or the literal tens of thousands who spread the word—they’re the flame.\u003c/p>\n\u003cp>Maybe \u003cem>you’ve \u003c/em>felt this way too: During the pandemic, with some of us stuck inside so often (with the obvious exception of our essential workers), it can seem like the webs of our lives have had all the threads snipped, one by one. The loneliness can be overbearing. But over the weekend, when my good friend needed it most, when he feared the worst — the unimaginable — for his children, it felt like all of the Bay Area’s human connections were woven together again — like thousands of Golden Gate Bridges built in the span of a few hours, with everyone in the community I love marching across in solidarity to lift Jeffrey and his family onto their shoulders.\u003c/p>\n\u003cp>It was Sunday, a day later, when the enormity of everything you all did hit me. The sobs that wracked me were happy ones.\u003c/p>\n\u003ch3>Why Jeffrey’s Story is Really All of Us\u003c/h3>\n\u003cp>Those who felt for Jeffrey’s family fall into two main camps.\u003c/p>\n\u003cp>Many empathized with him as a hard-working father from China who has been in the US for most of his adult life, an immigrant who became a citizen here, who over many long hours behind the wheel for various gig economy companies afforded to bring over his wife and three children to the United States right at the beginning of the pandemic.\u003c/p>\n\u003cp>Donors called out this story again and again in the GoFundMe comments:\u003c/p>\n\u003cp>\u003cem>“I come from a Korean immigrant family, and know the joys but also the struggle. Please know that there is far more good in the world than evil, and your sacrifices for your children are beautiful and worthy. Sending all love to you Fang family.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>“I’m a child of immigrant parents and know how hard it was for my parents to raise two kids and make an honest living through hard work and sacrifice. Jeffrey Fang is trying to do this during a worldwide Pandemic. Best of luck and all the health and happiness to you and your family.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>“From one immigrant’s family to another, we hope this will help. We understand the struggle. With hard work, it will get better in time.”\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11859590\" class=\"wp-caption alignnone\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11859590\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/02/JeffreyFam2.jpg\" alt=\"\" width=\"1500\" height=\"1000\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Fang and two of his three children, Winnifred and Sean, Feb. 2021. \u003cem>(Chris Victorio/Courtesy of the S.F. Examiner)\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>Others who donated money said in GoFundMe comments that they found solidarity in his life as an Uber and Lyft driver-turned DoorDash driver, in the ever-precarious gig economy:\u003c/p>\n\u003cp>\u003cem>“Tech Workers For Tech Workers.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>“I really felt for this family when I saw this on the news. This pandemic has been challenging for so many people. Working as a food delivery driver is tough enough. How difficult it must have been for him to juggle work and babysitting the kids. So glad there are so many kind hearted people reaching out to help this family.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>“I’m sorry for your trauma and wish you a full recovery. My parents used to leave my siblings and me in the car while making deliveries in the ’80s. The immigrant/refugee struggle is real. Your hard work will not go unnoticed, and your children will be better because of it. You make this country great, thank you!”\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11859595\" class=\"wp-caption alignright\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11859595\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2021/02/Screenshot_20210208-084541_Chrome.jpg\" alt=\"\" width=\"1080\" height=\"1471\">\u003cfigcaption class=\"wp-caption-text\">An excerpt from a GoFundMe for DoorDash driver Jeffrey Fang, whose children were abducted Feb. 6, 2021.\u003c/figcaption>\u003c/figure>\n\u003cp>Ultimately, the Fang family’s story hit \u003cem>\u003ca href=\"https://www.washingtonpost.com/nation/2021/02/07/doordash-driver-kids-car/\">The Washington Post\u003c/a>, \u003ca href=\"https://www.vice.com/en/article/4adpmq/a-doordash-drivers-van-was-stolen-with-his-two-kids-inside\">Vice\u003c/a>,\u003c/em> and nearly every \u003ca href=\"https://abc7news.com/san-francisco-car-theft-2-kids-stolen-while-dad-delivers-doordash-order-sf-robbery-jackson-street/10320623/\">local TV station\u003c/a>, radio station, and news outlet you can think of. Thousands upon thousands of people responded to those stories on social media.\u003c/p>\n\u003cp>Jeffrey acknowledged the Bay Area’s support in an interview with my KQED colleague, Sara Hossaini.\u003c/p>\n\u003cp>“I know they helped me look, they pitched in massively to help looking for my children, which I’m eternally grateful for,” Jeffrey told her.\u003c/p>\n\u003cp>And as for his kids? How were they?\u003c/p>\n\u003cp>Sean is too young to say what he saw. But Winnifred apparently slept through the whole ordeal.\u003c/p>\n\u003cp>“She told me the only thing she remembers is waking up to police showing up at the car,” Jeffrey said, “So I am honestly quite thankful for that. Quite thankful.”\u003c/p>\n\u003cp>And as for me?\u003c/p>\n\u003cp>Much like Jeffrey, I’m quite thankful for all of you, too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ci>This story has been updated.\u003c/i>\u003c/p>\n\u003cp>The San Francisco Museum of Modern Art announced today that Director Neal Benezra will step down from his role after 19 years in the position.\u003c/p>\n\u003cp>The museum gave no definitive end-date for Benezra’s tenure at the museum, only describing the move as the beginning of a “transition.” Benezra will assist the museum with “its succession plan and international search for a new director,” the statement explains.\u003c/p>\n\u003cp>Since his hiring in 2002, Benezra has overseen enormous growth for SFMOMA. The museum physically expanded to accommodate the long-term loan of over 1,000 artworks from the Fisher Collection, tripling its gallery space when it reopened in 2016 after three years of construction.\u003c/p>\n\u003cp>“I’m really proud of what we’ve been able to do here, with the staff and board working with me very closely, but I’m really ready for a change,” Benezra said in a phone interview, citing his nearly 40 years of working in museum settings. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m not using the R-word,” he says of retirement. “You want to keep your options open and see. I don’t have any plans to do anything except slow down for a little while.” As such, he has no immediate plans to leave the Bay Area. (Hyperallergic \u003ca href=\"https://hyperallergic.com/586107/sfmoma-cuts-salaries-by-20-employees-call-out-home-loans/\" rel=\"noopener noreferrer\" target=\"_blank\">previously reported\u003c/a> Benezra received a $801,900 no-interest loan from SFMOMA in 2002 for his San Francisco home; he declined to comment on the terms of his contract with the museum and if the end of his employment would trigger repayment on that loan.)\u003c/p>\n\u003cp>While Benezra \u003ca href=\"https://www.nytimes.com/2021/02/09/arts/design/director-of-sfmoma-steps-down.html\" rel=\"noopener noreferrer\" target=\"_blank\">told the \u003cem>New York Times\u003c/em>\u003c/a> his decision to step down has nothing to do with controversies over the past year, his leadership of the 86-year-old museum has come under fire—from both inside and outside the institution—for \u003ca href=\"https://www.kqed.org/arts/13877653/sfmoma-to-lay-off-or-furlough-over-300-museum-staff\" rel=\"noopener noreferrer\" target=\"_blank\">large personnel cuts\u003c/a>, staff experiences of racial inequity and SFMOMA’s \u003ca href=\"https://www.kqed.org/arts/13881257/sfmoma-faces-censorship-racism-accusations-over-george-floyd-response\" rel=\"noopener noreferrer\" target=\"_blank\">handling of criticism\u003c/a> during last summer’s protests against police brutality.\u003c/p>\n\u003cp>Benezra’s successor will inherit these issues, along with the financial fallout of the coronavirus pandemic. Most recently, the museum enacted 20% furloughs for all staff on Jan. 1. SFMOMA’s staff union OPEIU Local 29 achieved a memorandum of understanding with the museum to exempt the two lowest-paid classifications of its members, and delayed the furlough start date for union members until Jan. 22.\u003c/p>\n\u003cp>Just days ago, current SFMOMA staff launched a \u003ca href=\"https://www.gofundme.com/f/sfmoma-staff-mutual-aid\" rel=\"noopener noreferrer\" target=\"_blank\">GoFundMe\u003c/a> to provide mutual aid to furloughed and laid-off colleagues, citing the hardship of “ongoing, significant loss in salary” and the Bay Area’s high cost of living. The fund hopes to raise $50,000.\u003c/p>\n\u003cp>Benezra himself took a 50% salary reduction at the start of the pandemic (2018 tax filings show his annual compensation was over $1 million). But before the end of 2020, the board approved to lessen Benezra’s salary reduction to just 25%, starting Jan. 1. Despite the optics of furloughs coinciding with an increase in its highest-paid staff member’s pay, SFMOMA spokesperson Jill Lynch says Benezra’s pay cut remains the largest salary reduction taken by an American museum leader.\u003c/p>\n\u003cp>SFMOMA has suffered nearly a year without ticket sales. The museum closed in March 2020 due to the pandemic and \u003ca href=\"https://www.kqed.org/arts/13886494/sfmoma-asian-art-museum-announce-reopenings-in-early-october\" rel=\"noopener noreferrer\" target=\"_blank\">reopened for only two months\u003c/a> at the beginning of October. The museum hopes to reopen this spring, or as soon as the city of San Francisco lifts restrictions. \u003c/p>\n\u003cp>When that day arrives, SFMOMA is looking forward to hosting the retrospective \u003ci>Nam June Paik\u003c/i> (the museum is the only U.S. venue for the exhibition) and the physical feat of moving Diego Rivera’s mural \u003ci>The Marriage of the Artistic Expression of the North and of the South on this Continent\u003c/i> (aka \u003ci>Pan American Unity\u003c/i>), from City College of San Francisco to the museum’s free, Howard Street-facing gallery.\u003c/p>\n\u003cp>In the meantime, the museum’s board of trustees will establish a formal search committee to identify a new director for SFMOMA. Today’s statement says the committee will accept “input from staff and the museum’s community” to evaluate “a diverse pool of candidates who share the goal of becoming a human-centered, community-driven museum.”\u003c/p>\n\u003cp>Benezra said it would not surprise him if the search takes as long as a year. The next director of SFMOMA will need a variety of skills that extend well beyond the curation and care of the museum’s collection. “Museums have become larger, more complex institutions,” he said. “The challenges are more difficult, and less related—in some ways—to the art that you came to work with.” \u003c/p>\n\u003cp>One of those challenges will be establishing the museum’s role in a post-pandemic world, now that audiences have grown more accustomed to viewing art and culture at a remove. Another will be enacting the museum’s \u003ca href=\"https://www.sfmoma.org/dei-actions/\" rel=\"noopener noreferrer\" target=\"_blank\">DEI initiatives\u003c/a>; a Diversity Action Plan is due to debut this spring. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“All our institutions have had to face really challenging, difficult situations having to do with racial equality,” Benezra said. “That’s a very important part of what museums have to be moving forward in terms of who we staff, what we collect, what exhibitions we mount. It’s a different time and museums are going to have to meet the moment.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>This story has been updated.\u003c/i>\u003c/p>\n\u003cp>The San Francisco Museum of Modern Art announced today that Director Neal Benezra will step down from his role after 19 years in the position.\u003c/p>\n\u003cp>The museum gave no definitive end-date for Benezra’s tenure at the museum, only describing the move as the beginning of a “transition.” Benezra will assist the museum with “its succession plan and international search for a new director,” the statement explains.\u003c/p>\n\u003cp>Since his hiring in 2002, Benezra has overseen enormous growth for SFMOMA. The museum physically expanded to accommodate the long-term loan of over 1,000 artworks from the Fisher Collection, tripling its gallery space when it reopened in 2016 after three years of construction.\u003c/p>\n\u003cp>“I’m really proud of what we’ve been able to do here, with the staff and board working with me very closely, but I’m really ready for a change,” Benezra said in a phone interview, citing his nearly 40 years of working in museum settings. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m not using the R-word,” he says of retirement. “You want to keep your options open and see. I don’t have any plans to do anything except slow down for a little while.” As such, he has no immediate plans to leave the Bay Area. (Hyperallergic \u003ca href=\"https://hyperallergic.com/586107/sfmoma-cuts-salaries-by-20-employees-call-out-home-loans/\" rel=\"noopener noreferrer\" target=\"_blank\">previously reported\u003c/a> Benezra received a $801,900 no-interest loan from SFMOMA in 2002 for his San Francisco home; he declined to comment on the terms of his contract with the museum and if the end of his employment would trigger repayment on that loan.)\u003c/p>\n\u003cp>While Benezra \u003ca href=\"https://www.nytimes.com/2021/02/09/arts/design/director-of-sfmoma-steps-down.html\" rel=\"noopener noreferrer\" target=\"_blank\">told the \u003cem>New York Times\u003c/em>\u003c/a> his decision to step down has nothing to do with controversies over the past year, his leadership of the 86-year-old museum has come under fire—from both inside and outside the institution—for \u003ca href=\"https://www.kqed.org/arts/13877653/sfmoma-to-lay-off-or-furlough-over-300-museum-staff\" rel=\"noopener noreferrer\" target=\"_blank\">large personnel cuts\u003c/a>, staff experiences of racial inequity and SFMOMA’s \u003ca href=\"https://www.kqed.org/arts/13881257/sfmoma-faces-censorship-racism-accusations-over-george-floyd-response\" rel=\"noopener noreferrer\" target=\"_blank\">handling of criticism\u003c/a> during last summer’s protests against police brutality.\u003c/p>\n\u003cp>Benezra’s successor will inherit these issues, along with the financial fallout of the coronavirus pandemic. Most recently, the museum enacted 20% furloughs for all staff on Jan. 1. SFMOMA’s staff union OPEIU Local 29 achieved a memorandum of understanding with the museum to exempt the two lowest-paid classifications of its members, and delayed the furlough start date for union members until Jan. 22.\u003c/p>\n\u003cp>Just days ago, current SFMOMA staff launched a \u003ca href=\"https://www.gofundme.com/f/sfmoma-staff-mutual-aid\" rel=\"noopener noreferrer\" target=\"_blank\">GoFundMe\u003c/a> to provide mutual aid to furloughed and laid-off colleagues, citing the hardship of “ongoing, significant loss in salary” and the Bay Area’s high cost of living. The fund hopes to raise $50,000.\u003c/p>\n\u003cp>Benezra himself took a 50% salary reduction at the start of the pandemic (2018 tax filings show his annual compensation was over $1 million). But before the end of 2020, the board approved to lessen Benezra’s salary reduction to just 25%, starting Jan. 1. Despite the optics of furloughs coinciding with an increase in its highest-paid staff member’s pay, SFMOMA spokesperson Jill Lynch says Benezra’s pay cut remains the largest salary reduction taken by an American museum leader.\u003c/p>\n\u003cp>SFMOMA has suffered nearly a year without ticket sales. The museum closed in March 2020 due to the pandemic and \u003ca href=\"https://www.kqed.org/arts/13886494/sfmoma-asian-art-museum-announce-reopenings-in-early-october\" rel=\"noopener noreferrer\" target=\"_blank\">reopened for only two months\u003c/a> at the beginning of October. The museum hopes to reopen this spring, or as soon as the city of San Francisco lifts restrictions. \u003c/p>\n\u003cp>When that day arrives, SFMOMA is looking forward to hosting the retrospective \u003ci>Nam June Paik\u003c/i> (the museum is the only U.S. venue for the exhibition) and the physical feat of moving Diego Rivera’s mural \u003ci>The Marriage of the Artistic Expression of the North and of the South on this Continent\u003c/i> (aka \u003ci>Pan American Unity\u003c/i>), from City College of San Francisco to the museum’s free, Howard Street-facing gallery.\u003c/p>\n\u003cp>In the meantime, the museum’s board of trustees will establish a formal search committee to identify a new director for SFMOMA. Today’s statement says the committee will accept “input from staff and the museum’s community” to evaluate “a diverse pool of candidates who share the goal of becoming a human-centered, community-driven museum.”\u003c/p>\n\u003cp>Benezra said it would not surprise him if the search takes as long as a year. The next director of SFMOMA will need a variety of skills that extend well beyond the curation and care of the museum’s collection. “Museums have become larger, more complex institutions,” he said. “The challenges are more difficult, and less related—in some ways—to the art that you came to work with.” \u003c/p>\n\u003cp>One of those challenges will be establishing the museum’s role in a post-pandemic world, now that audiences have grown more accustomed to viewing art and culture at a remove. Another will be enacting the museum’s \u003ca href=\"https://www.sfmoma.org/dei-actions/\" rel=\"noopener noreferrer\" target=\"_blank\">DEI initiatives\u003c/a>; a Diversity Action Plan is due to debut this spring. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“All our institutions have had to face really challenging, difficult situations having to do with racial equality,” Benezra said. “That’s a very important part of what museums have to be moving forward in terms of who we staff, what we collect, what exhibitions we mount. It’s a different time and museums are going to have to meet the moment.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "For Some Small Arts Groups in CA, Adhering to Labor Law Means Not Paying Artists",
"headTitle": "For Some Small Arts Groups in CA, Adhering to Labor Law Means Not Paying Artists | KQED",
"content": "\u003cp>The California arts and culture sector has long relied on a freelance workforce.\u003c/p>\n\u003cp>The vast \u003ca href=\"https://www.causeiq.com/directory/performing-arts-organizations-list/california-state/#ntee_letter_section\" target=\"_blank\" rel=\"noopener noreferrer\">majority\u003c/a> of the state’s roughly 4,000 performing arts organizations have budgets of less than $1.5 million.\u003c/p>\n\u003cp>Used to hiring artists who work as independent contractors in exchange for program or project fees, it’s been tough for these small nonprofit arts groups in particular to adapt to \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billTextClient.xhtml?bill_id=201920200AB5\" target=\"_blank\" rel=\"noopener noreferrer\">AB5\u003c/a>, the labor law intended to give the state’s workers more benefits by preventing employers from misclassifying them as contractors in order to save money.\u003cb>\u003c/b>\u003c/p>\n\u003cp>[aside link1='https://www.kqed.org/ourturbulentdecade/2019-the-gig-economy-defined-how-artists-do-business-heres-whats-likely-to-change,Gig Economy Regulations Leave Futures Unclear for Artists' hero='https://ww2.kqed.org/app/uploads/sites/2/2019/12/HERO-Standup-comedian-Dhaya-Lakshminarayanan-photo-by-Kearny-street-workshop-1920x1080.jpg']“It’s just really challenging, not just in terms of money to pay for the higher expenses of having employees versus independent contractors, but time as a resource too,” says \u003ca href=\"http://www.taiko.org\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose Taiko\u003c/a> Executive Director Wisa Uemura.\u003c/p>\n\u003cp>Nevertheless, Uemura says she welcomes the shift.\u003c/p>\n\u003cp>“I like the idea that we’re being held more accountable and we have to be more careful,” Uemura says.\u003c/p>\n\u003cp>As does circus performer Indi McCasey, executive director of \u003ca href=\"https://www.artsedalliance.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Arts Education Alliance of the Bay Area\u003c/a>.\u003c/p>\n\u003cp>“I see AB5 as having the potential to really address ongoing labor issues for teaching artists,” McCasey says. “And I personally and professionally see it as a positive shift for community arts organizations.”\u003c/p>\n\u003cp>[pullquote size='large' align='right' citation='Lisa Mallette, City Lights Theater Company']‘If I could blink my eyes and we were able to make everybody employees with benefits and and retirement accounts, of course I would want to do that.’[/pullquote]But converting a contractor to an employee increases payroll costs by about 30%, according to \u003ca href=\"https://www.cciarts.org/_Library/docs/Arts_Workers_in_California_FINAL.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">a new research report\u003c/a> from the \u003ca href=\"https://www.urban.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Urban Institute\u003c/a> and the \u003ca href=\"http://cciarts.org\" target=\"_blank\" rel=\"noopener noreferrer\">Center for Cultural Innovation\u003c/a>, funded by the \u003ca href=\"https://hewlett.org/\" target=\"_blank\" rel=\"noopener noreferrer\">William and Flora Hewlett Foundation\u003c/a>.\u003c/p>\n\u003cp>And that’s devastating for some of the state’s small performing arts producers, especially since the COVID-19 pandemic has \u003ca href=\"https://www.americansforthearts.org/by-topic/disaster-preparedness/the-economic-impact-of-coronavirus-on-the-arts-and-culture-sector\" target=\"_blank\" rel=\"noopener noreferrer\">decimated\u003c/a> their already meager bottom lines.\u003c/p>\n\u003cp>“If I could blink my eyes and we were able to make everybody employees with benefits and and retirement accounts, of course I would want to do that,” says Lisa Mallette, executive artistic director of \u003ca href=\"https://cltc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">City Lights Theater Company\u003c/a> in San Jose. “It’s just not possible at this point for a lot of organizations of a certain size.”\u003c/p>\n\u003cp>“Their business models run on a shoestring,” says Emiko Ono, performing arts program director at the Hewlett Foundation. “And so any kind of change in their bottom line can be make it or break it for these organizations.”\u003c/p>\n\u003cp>“It is a point of crisis,” says Martha Demson, producing artistic director of \u003ca href=\"http://openfist.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Open Fist Theatre Company\u003c/a> in Los Angeles.\u003c/p>\n\u003cp>When AB5 became law in January 2020, Demson says she couldn’t afford to put artists she used to hire as freelancers on payroll. So instead, she made them volunteers.\u003c/p>\n\u003cp>“It was a very sad day when we took that decision,” Demson says. “It”s not something anyone relished.”\u003c/p>\n\u003cp>Demson, who has long volunteered her own time to the company, says it was a desperate act of survival—and hopefully temporary.\u003c/p>\n\u003cp>“The idea that you would be an all-volunteer organization smacks of privilege,” Demson says. “How many people can give their time for no compensation?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.brennasammon.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Brenna Sammon\u003c/a> says she certainly can’t.\u003c/p>\n\u003cp>Sammon is an up-and-coming musical theater artist based in San Francisco.\u003c/p>\n\u003cp>“I perform kind of all around the Bay Area—as far as Los Altos, Napa, Marin,” she says.\u003c/p>\n\u003cp>Sammon used to get paid as a freelance contractor for her musical theater work. But she says instead of putting the performer on payroll since AB5, potential employers have only been able to offer expenses.\u003c/p>\n\u003cp>“That probably won’t even cover gas,” Sammon says. “Just because of that, I wasn’t able to even audition. Financially it didn’t make sense.”\u003c/p>\n\u003cp>Sammon’s day job, working as an executive assistant for a head-hunting firm in San Francisco, affords her some financial stability.\u003c/p>\n\u003cp>But she says she knows many early-career performers who’ve had to leave California, since the small companies that once provided paid professional opportunities are now asking artists to work for expenses, or even less.\u003c/p>\n\u003cp>“I think it really creates a lot of inequity because there’s so many people that just can’t afford to do shows for free,” Sammon says.\u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation='Lorena Gonzalez, CA State Assemblywoman']‘There is a need to professionalize the arts in a way that people can make a real living off of it. And we’ve got to come to terms with ways in which that can be done.’[/pullquote]For some organizations, turning contractors into volunteers is simply unthinkable.\u003c/p>\n\u003cp>\u003ca href=\"https://opheliasjump.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Ophelia’s Jump\u003c/a> is a theater group located on the border between Los Angeles and San Bernardino counties that focuses on centering underrepresented voices and narratives. The company frequently hires women, LGBTQ+, BIPOC and disabled performers.\u003c/p>\n\u003cp>Co-founder Beatrice Casagran says asking artists to volunteer their time would undermine the company’s diversity-focused mission.\u003c/p>\n\u003cp>“It would be really ironic and sad if this company that has always paid artists all of a sudden had to say, ‘You know what, we’re not paying you anymore,’” Casagran says. “Because I think that message is exactly the wrong message.”\u003c/p>\n\u003cp>So in order to meet payroll costs, Casagran has had to drastically scale back operations, doing virtual staged readings that require very little rehearsal time during the pandemic, and planning for reduced-scale live shows once theaters can reopen, featuring a maximum of four actors and four weeks of rehearsal.\u003c/p>\n\u003cp>Casagran would like to see the state’s labor laws change so small companies like Ophelia’s Jump have more flexibility to produce the work they want to produce on their own terms.\u003c/p>\n\u003cp>“Finding something that would allow us to pay artists on a fee-based contract rather than as hourly workers would be the way to go,” Casagran says.\u003c/p>\n\u003cp>Pushback from parts of the creative sector has led to a more recent law—\u003ca href=\"https://leginfo.legislature.ca.gov/faces/billTextClient.xhtml?bill_id=201920200AB2257\" target=\"_blank\" rel=\"noopener noreferrer\">AB2257\u003c/a>—that now allows some arts workers to freelance if they meet certain employment conditions.\u003c/p>\n\u003cp>[aside postID='news_11855985']But \u003ca href=\"https://a80.asmdc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Lorena Gonzalez\u003c/a>, the San Diego assemblywoman who authored both AB5 and AB2257, is wary of exempting more employers from compensating workers properly—especially since the companies for whom these laws were originally created, gig economy tech giants like Uber and Lyft, managed to wriggle out of having to comply with them when California voters passed \u003ca href=\"https://ballotpedia.org/California_Proposition_22,_App-Based_Drivers_as_Contractors_and_Labor_Policies_Initiative_(2020)\" target=\"_blank\" rel=\"noopener noreferrer\">Proposition 22\u003c/a> last November.\u003c/p>\n\u003cp>“There is a need to professionalize the arts in a way that people can make a real living off of it,” Gonzalez says. “And we’ve got to come to terms with ways in which that can be done.”\u003c/p>\n\u003cp>Gonzalez has floated a few possible solutions, ranging from state funding to help small arts groups comply with labor laws (though that idea went by the wayside early last year after the pandemic changed state funding priorities) to creating cooperatives to enable them to share the cost of workers comp.\u003c/p>\n\u003cp>But a more fundamental shift is needed to solve the equity issues that have long kept careers in the creative industries out of reach for those who can’t afford to work for very little or, in some cases, for free.\u003c/p>\n\u003cp>“AB5 and AB2257 are looking to solve the misclassification issue, and we know that even if folks are properly classified in the arts community as employees, that still is going to leave a good balance who are genuinely independent arts workers,” says the Hewlett Foundation’s Ono. She points out that protections that should apply to all working people still flow through employers. “Now that work is changing, those protections aren’t flowing to independent workers because of how the system was set up a long, long time ago.”\u003c/p>\n\u003cp>If nothing else, the unintended consequences of AB5 and AB2257 on small performing arts organizations, together with the outcome of Prop 22, have shone a light on this deep-seated, systemic problem.\u003c/p>\n\u003cp>“California is the world’s fifth-largest economy. So the fact that we can’t do better for our workers and our artists and creative communities is disappointing,” says teaching artist McCasey. “We need a bigger public campaign about what we value.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But converting a contractor to an employee increases payroll costs by about 30%, according to \u003ca href=\"https://www.cciarts.org/_Library/docs/Arts_Workers_in_California_FINAL.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">a new research report\u003c/a> from the \u003ca href=\"https://www.urban.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Urban Institute\u003c/a> and the \u003ca href=\"http://cciarts.org\" target=\"_blank\" rel=\"noopener noreferrer\">Center for Cultural Innovation\u003c/a>, funded by the \u003ca href=\"https://hewlett.org/\" target=\"_blank\" rel=\"noopener noreferrer\">William and Flora Hewlett Foundation\u003c/a>.\u003c/p>\n\u003cp>And that’s devastating for some of the state’s small performing arts producers, especially since the COVID-19 pandemic has \u003ca href=\"https://www.americansforthearts.org/by-topic/disaster-preparedness/the-economic-impact-of-coronavirus-on-the-arts-and-culture-sector\" target=\"_blank\" rel=\"noopener noreferrer\">decimated\u003c/a> their already meager bottom lines.\u003c/p>\n\u003cp>“If I could blink my eyes and we were able to make everybody employees with benefits and and retirement accounts, of course I would want to do that,” says Lisa Mallette, executive artistic director of \u003ca href=\"https://cltc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">City Lights Theater Company\u003c/a> in San Jose. “It’s just not possible at this point for a lot of organizations of a certain size.”\u003c/p>\n\u003cp>“Their business models run on a shoestring,” says Emiko Ono, performing arts program director at the Hewlett Foundation. “And so any kind of change in their bottom line can be make it or break it for these organizations.”\u003c/p>\n\u003cp>“It is a point of crisis,” says Martha Demson, producing artistic director of \u003ca href=\"http://openfist.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Open Fist Theatre Company\u003c/a> in Los Angeles.\u003c/p>\n\u003cp>When AB5 became law in January 2020, Demson says she couldn’t afford to put artists she used to hire as freelancers on payroll. So instead, she made them volunteers.\u003c/p>\n\u003cp>“It was a very sad day when we took that decision,” Demson says. “It”s not something anyone relished.”\u003c/p>\n\u003cp>Demson, who has long volunteered her own time to the company, says it was a desperate act of survival—and hopefully temporary.\u003c/p>\n\u003cp>“The idea that you would be an all-volunteer organization smacks of privilege,” Demson says. “How many people can give their time for no compensation?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.brennasammon.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Brenna Sammon\u003c/a> says she certainly can’t.\u003c/p>\n\u003cp>Sammon is an up-and-coming musical theater artist based in San Francisco.\u003c/p>\n\u003cp>“I perform kind of all around the Bay Area—as far as Los Altos, Napa, Marin,” she says.\u003c/p>\n\u003cp>Sammon used to get paid as a freelance contractor for her musical theater work. But she says instead of putting the performer on payroll since AB5, potential employers have only been able to offer expenses.\u003c/p>\n\u003cp>“That probably won’t even cover gas,” Sammon says. “Just because of that, I wasn’t able to even audition. Financially it didn’t make sense.”\u003c/p>\n\u003cp>Sammon’s day job, working as an executive assistant for a head-hunting firm in San Francisco, affords her some financial stability.\u003c/p>\n\u003cp>But she says she knows many early-career performers who’ve had to leave California, since the small companies that once provided paid professional opportunities are now asking artists to work for expenses, or even less.\u003c/p>\n\u003cp>“I think it really creates a lot of inequity because there’s so many people that just can’t afford to do shows for free,” Sammon says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "‘There is a need to professionalize the arts in a way that people can make a real living off of it. And we’ve got to come to terms with ways in which that can be done.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For some organizations, turning contractors into volunteers is simply unthinkable.\u003c/p>\n\u003cp>\u003ca href=\"https://opheliasjump.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Ophelia’s Jump\u003c/a> is a theater group located on the border between Los Angeles and San Bernardino counties that focuses on centering underrepresented voices and narratives. The company frequently hires women, LGBTQ+, BIPOC and disabled performers.\u003c/p>\n\u003cp>Co-founder Beatrice Casagran says asking artists to volunteer their time would undermine the company’s diversity-focused mission.\u003c/p>\n\u003cp>“It would be really ironic and sad if this company that has always paid artists all of a sudden had to say, ‘You know what, we’re not paying you anymore,’” Casagran says. “Because I think that message is exactly the wrong message.”\u003c/p>\n\u003cp>So in order to meet payroll costs, Casagran has had to drastically scale back operations, doing virtual staged readings that require very little rehearsal time during the pandemic, and planning for reduced-scale live shows once theaters can reopen, featuring a maximum of four actors and four weeks of rehearsal.\u003c/p>\n\u003cp>Casagran would like to see the state’s labor laws change so small companies like Ophelia’s Jump have more flexibility to produce the work they want to produce on their own terms.\u003c/p>\n\u003cp>“Finding something that would allow us to pay artists on a fee-based contract rather than as hourly workers would be the way to go,” Casagran says.\u003c/p>\n\u003cp>Pushback from parts of the creative sector has led to a more recent law—\u003ca href=\"https://leginfo.legislature.ca.gov/faces/billTextClient.xhtml?bill_id=201920200AB2257\" target=\"_blank\" rel=\"noopener noreferrer\">AB2257\u003c/a>—that now allows some arts workers to freelance if they meet certain employment conditions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But \u003ca href=\"https://a80.asmdc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Lorena Gonzalez\u003c/a>, the San Diego assemblywoman who authored both AB5 and AB2257, is wary of exempting more employers from compensating workers properly—especially since the companies for whom these laws were originally created, gig economy tech giants like Uber and Lyft, managed to wriggle out of having to comply with them when California voters passed \u003ca href=\"https://ballotpedia.org/California_Proposition_22,_App-Based_Drivers_as_Contractors_and_Labor_Policies_Initiative_(2020)\" target=\"_blank\" rel=\"noopener noreferrer\">Proposition 22\u003c/a> last November.\u003c/p>\n\u003cp>“There is a need to professionalize the arts in a way that people can make a real living off of it,” Gonzalez says. “And we’ve got to come to terms with ways in which that can be done.”\u003c/p>\n\u003cp>Gonzalez has floated a few possible solutions, ranging from state funding to help small arts groups comply with labor laws (though that idea went by the wayside early last year after the pandemic changed state funding priorities) to creating cooperatives to enable them to share the cost of workers comp.\u003c/p>\n\u003cp>But a more fundamental shift is needed to solve the equity issues that have long kept careers in the creative industries out of reach for those who can’t afford to work for very little or, in some cases, for free.\u003c/p>\n\u003cp>“AB5 and AB2257 are looking to solve the misclassification issue, and we know that even if folks are properly classified in the arts community as employees, that still is going to leave a good balance who are genuinely independent arts workers,” says the Hewlett Foundation’s Ono. She points out that protections that should apply to all working people still flow through employers. “Now that work is changing, those protections aren’t flowing to independent workers because of how the system was set up a long, long time ago.”\u003c/p>\n\u003cp>If nothing else, the unintended consequences of AB5 and AB2257 on small performing arts organizations, together with the outcome of Prop 22, have shone a light on this deep-seated, systemic problem.\u003c/p>\n\u003cp>“California is the world’s fifth-largest economy. So the fact that we can’t do better for our workers and our artists and creative communities is disappointing,” says teaching artist McCasey. “We need a bigger public campaign about what we value.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>With the highly anticipated sequel already coming in the summer of 2022, fans of the movie \u003cem>Black Panther\u003c/em> are set to get to see even more of the kingdom of Wakanda. Bay Area born-and-raised writer and director Ryan Coogler has signed a new multi-year overall television contract with The Walt Disney Company, under which the new Wakanda show will be his first project. [aside postid='arts_13824541']\u003c/p>\n\u003cp>The series is expected to continue to build on the foundation Coogler set with \u003cem>Black Panther\u003c/em> and the upcoming sequel, \u003cem>Black Panther II,\u003c/em> set to be released on July 8, 2022. \u003cem>Black Panther\u003c/em> grossed nearly $1.35 billion worldwide for Disney and Marvel, and made headlines again in August 2020 after the sudden death of star Chadwick Boseman from colon cancer.\u003c/p>\n\u003cp>“It’s an honor to be partnering with The Walt Disney Company,” Coogler told \u003ca href=\"https://variety.com/2021/tv/news/wakanda-series-disney-plus-ryan-coogler-1234897587/\" target=\"_blank\" rel=\"noopener noreferrer\">Variety\u003c/a>. “Working with them on \u003cem>Black Panther\u003c/em> was a dream come true… We’re already in the mix on some projects that we can’t wait to share.” The multi-year deal will also include other future television projects in addition to the Wakanda series.\u003c/p>\n\u003cp>It is currently unclear if the new show will include any scenes or storylines set in Oakland, as the first \u003cem>Black Panther\u003c/em> film did.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With the highly anticipated sequel already coming in the summer of 2022, fans of the movie \u003cem>Black Panther\u003c/em> are set to get to see even more of the kingdom of Wakanda. Bay Area born-and-raised writer and director Ryan Coogler has signed a new multi-year overall television contract with The Walt Disney Company, under which the new Wakanda show will be his first project. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The series is expected to continue to build on the foundation Coogler set with \u003cem>Black Panther\u003c/em> and the upcoming sequel, \u003cem>Black Panther II,\u003c/em> set to be released on July 8, 2022. \u003cem>Black Panther\u003c/em> grossed nearly $1.35 billion worldwide for Disney and Marvel, and made headlines again in August 2020 after the sudden death of star Chadwick Boseman from colon cancer.\u003c/p>\n\u003cp>“It’s an honor to be partnering with The Walt Disney Company,” Coogler told \u003ca href=\"https://variety.com/2021/tv/news/wakanda-series-disney-plus-ryan-coogler-1234897587/\" target=\"_blank\" rel=\"noopener noreferrer\">Variety\u003c/a>. “Working with them on \u003cem>Black Panther\u003c/em> was a dream come true… We’re already in the mix on some projects that we can’t wait to share.” The multi-year deal will also include other future television projects in addition to the Wakanda series.\u003c/p>\n\u003cp>It is currently unclear if the new show will include any scenes or storylines set in Oakland, as the first \u003cem>Black Panther\u003c/em> film did.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The San Francisco Art Institute That Could Have Been",
"headTitle": "The San Francisco Art Institute That Could Have Been | KQED",
"content": "\u003cp>Almost everyone agrees on one thing: For the San Francisco Art Institute to have a future, it will need to change. But like most slow-moving objects that have been laden with debt, it’s having trouble altering its course.\u003c/p>\n\u003cp>SFAI’s most recent troubles began in March 2020, when the school, facing budget shortfalls after a failed merger attempt, \u003ca href=\"https://www.kqed.org/arts/13877340/san-francisco-art-institute-to-close-at-end-of-spring-semester\" target=\"_blank\" rel=\"noopener noreferrer\">announced\u003c/a> it would halt enrollment and was preparing to lay off staff and faculty. In short order, the school’s president stepped down, students were encouraged to enroll elsewhere and nearly all adjunct faculty lost their jobs. In the fall, the University of California \u003ca href=\"https://missionlocal.org/2020/12/uc-regents-buy-sf-art-institutes-19-7m-debt-are-now-schools-landlords-will-sfais-diego-rivera-mural-be-next-to-sell/\" target=\"_blank\" rel=\"noopener noreferrer\">stepped in\u003c/a> to save SFAI from foreclosure, buying the school’s $19.7 million debt from a private bank.\u003c/p>\n\u003cp>The University of California is now SFAI’s landlord. If SFAI has any intention of owning its Chestnut Street campus again, it will need to repay that $19.7 million (plus interest) within the next six years.\u003c/p>\n\u003cp>[aside postID='arts_13878509']Only network television could cram more drama into such a short period of time, but before 2020 ended, two more bombshells landed. One was that SFAI’s board of trustees was considering the sale of the Chestnut Street campus’ 1931 \u003ca href=\"https://www.kqed.org/arts/13891106/diego-rivera-mural-at-sfai-to-receive-landmark-designation-preventing-possible-sale\" target=\"_blank\" rel=\"noopener noreferrer\">Diego Rivera mural\u003c/a>. The other was it had voted to spend \u003ca href=\"https://www.nytimes.com/2021/01/22/arts/design/san-francisco-art-institute-pam-rorke-levy.html\" target=\"_blank\" rel=\"noopener noreferrer\">$1.5 million\u003c/a> from the school’s endowment, which \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/Committee-to-Reimagine-SFAI-Statement-1-15-21.pdf\">raised concern and objection\u003c/a>.\u003c/p>\n\u003cp>For a board-initiated group of alumni, staff and faculty, who for six months had diligently worked on a vision for SFAI’s future, this was the final straw, the final breach of trust in a long series of unmet promises, contradictory messages and decisions clouded in secrecy. The Committee to Reimagine SFAI had met at least once a week since August, putting in countless hours to envision a school rooted in lower tuitions, new power dynamics and the principles of diversity, equity, inclusion and accessibility.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With the mural under threat and the questioned endowment spending approved, all good faith evaporated. The committee’s co-chairs \u003ca href=\"https://41d5f226-1469-4135-a0cb-32a7e9e23c6e.filesusr.com/ugd/15cf86_df52f0a900684113b2f98402181921aa.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">called\u003c/a> for then-board chair Pam Rorke Levy to step down as a condition of “[sharing] our work with the board.” The board declined.\u003c/p>\n\u003cp>Now, the Reimagine Committee’s findings exist in a bizarre limbo. The board canceled their final presentation the day before it was set to take place, the co-chairs formally resigned and the committee dissolved after making a town hall presentation to the public on Jan. 14. A recording of that two-hour session \u003ca href=\"https://www.sfartistsalumni.org/re-imagine-town-hall-jan2021\" target=\"_blank\" rel=\"noopener noreferrer\">lives online\u003c/a>, along with PDFs created by subcommittees focusing on issues like pedagogy, finance and governance.\u003c/p>\n\u003cp>But whether SFAI’s board will watch the presentation, let alone incorporate its recommendations, remains to be seen. The board says the committee missed a Dec. 31 deadline to submit their final report, but is still eager to hear their recommendations. “With all of the efforts the Reimagine Committee put into creating their commissioned findings and report, we continue to invite them to share it with the board,” said vice chair John Marx in a statement provided to KQED. He says the board finds it “a bit of a mystery as to why” the Reimagine Committee has “withheld it.”\u003c/p>\n\u003cp>Lost in the back and forth are ideas that represent the best of what SFAI could be, if the school only had the time, money or interest to implement them.\u003c/p>\n\u003ch2>‘Everything Was on the Table’\u003c/h2>\n\u003cp>The impasse may come down to a fundamental difference in power dynamics. After all, the Reimagine Committee wanted to see more faculty, staff and student participation at the highest level of SFAI’s governance.\u003c/p>\n\u003cp>When asked about this proposed shift, Marx said the school’s financial position is the foremost concern. “The board’s urgent and immediate priorities are to see through the current semester and to start rebuilding enrollment for the upcoming school year,” his statement reads. “As we create a forum to listen, with the intention of healing, we are committed to looking at how we can make the process more inclusive and open to the broader community. The form that takes will evolve as we all learn to build bridges of trust.”\u003c/p>\n\u003cp>And yet, the Reimagine Committee was made up of the “broader community.” Part of its activity was regular meetings with board members to keep everyone updated on the committee’s progress. Among its suggestions are a number of ways to make SFAI’s governance more inclusive. Marx’s answer, in other words, seems to describe work the Reimagine Committee has already done.\u003c/p>\n\u003cfigure id=\"attachment_13892129\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13892129\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/Governance_Reimagine_1200.jpg\" alt=\"\" width=\"1200\" height=\"740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Governance_Reimagine_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Governance_Reimagine_1200-800x493.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Governance_Reimagine_1200-1020x629.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Governance_Reimagine_1200-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Governance_Reimagine_1200-768x474.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The opening slide from the governance subcommittee’s presentation on Jan. 14. \u003ccite>(Courtesy Reimagine Committee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Reimagine Committee began taking shape in July 2020 with the selection of three co-chairs by the SFAI board, all alumni: Tom Loughlin, Karen Topakian and Christopher Williams. (Though Williams stepped down earlier in December.) The co-chairs gathered a formidable assembly. Adjunct and full-time faculty joined on, along with staff representatives and volunteers selected from an open call to the alumni population. Further community members joined various subcommittees. All told, over 50 people participated in the process.\u003c/p>\n\u003cp>According to the co-chairs, Levy said “everything was on the table.” She assured the committee the board would fundraise to make sure the school could actually implement their suggestions.\u003c/p>\n\u003cp>Over the course of 22 committee meetings and even more subcommittee meetings, the Reimagine team looked at the school’s existing strengths and weaknesses, examining programming, student populations and how programs could be funded. One week, Assistant Professor and Photo Department Chair Lindsey White, who co-chaired the governance sub-committee, says she spent 13 hours in meetings, not including an additional seven to nine hours of planning. Despite the time commitment, by all accounts, this volunteer group genuinely enjoyed hashing out difficult ideas.\u003c/p>\n\u003cp>“People dedicated so many hours and we were all learning together,” White says. “That’s really important and what kept the whole thing going. It was amazing to have a space to really learn with and from each other.”\u003c/p>\n\u003cp>Topakian, who was the board chair of Greenpeace for eight years, has plenty of experience creating productive agendas. But the trick with the Reimagine Committee, she says, was to get everyone on equal footing. Former students and their professors were now co-chairing subcommittees.\u003c/p>\n\u003cp>“I said early on that my belief and my practice was to model good behavior,” Topakian says. “So I wanted to show there was another way to bring disparate groups of people together to come up with the best possible outcome.” Among that good behavior, she says, was acknowledging the pain and turmoil people experienced (especially during the past year), but not letting those experiences keep the Reimagine Committee from dreaming up a better SFAI.\u003c/p>\n\u003ch2>Optimistic Realism\u003c/h2>\n\u003cp>From the start, the Reimagine Committee emerged as a serious working group. They reached out to experts in various fields to inform their recommendations in pedagogy; diversity, equity, accessibility and inclusion; fundraising; marketing, enrollment and communications; sustainability and environmental justice; finance; and governance.\u003c/p>\n\u003cp>Many of the concepts they discussed have long been circulating through the halls of higher education and its alternatives. But it’s rare to see an entire school re-thought from the ground up, especially by a group of people intimately acquainted with the inner workings of that institution.\u003c/p>\n\u003cp>Some of the most compelling recommendations:\u003c/p>\n\u003cul>\n\u003cli>Offer a three-year MFA program to just 20 students at a time (in contrast to a pre-pandemic class size of 40–50).\u003c/li>\n\u003cli>Provide sensitivity training at every level of the institution, including students and administrators.\u003c/li>\n\u003cli>Make SFAI physically accessible (the Chestnut Street campus is currently an M.C.-Escher-like arrangement of stairs and few ramps).\u003c/li>\n\u003cli>Establish a cooperative governance structure, with staff rotating in and out of a 15-person board of directors.\u003c/li>\n\u003cli>Share as many documents and financial statements as legally possible.\u003c/li>\n\u003c/ul>\n\u003cp>Many of the proposals were direct responses to SFAI’s perceived shortcomings; transparency was obviously a core issue. In the Jan. 14 town hall, the depth and intricacy of the Reimagine Committee’s presentations were invigorating. This was the clearest and most compelling vision of SFAI that anyone had seen in the past year.\u003c/p>\n\u003cp>And unlike some board-issued statements regarding the school’s financial situation, the Reimagine Committee didn’t sugarcoat their findings. The finance team, represented by Stephen Mangum, laid out the numbers put together from financial records provided by the school.\u003c/p>\n\u003cfigure id=\"attachment_13892128\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13892128\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/FinanceModel.jpg\" alt=\"\" width=\"1200\" height=\"822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/FinanceModel.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/FinanceModel-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/FinanceModel-1020x699.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/FinanceModel-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/FinanceModel-768x526.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A slide from the finance subcommittee’s Jan. 14 presentation, showing projected deficits for different approaches to the 2021–22 school year. \u003ccite>(Courtesy Reimagine Committee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Based on SFAI’s new agreement with the University of California, it will be making interim rent payments over the next six years, with a balloon payment of $24.1 million due in 2027 to reclaim its Chestnut Street campus. The finance team looked at two near-term scenarios for the 2021–2022 school year: operating with about 50 students at the current tuition (around $46,000) or going dormant. According to their modeling, the former would yield a $4.8 million deficit. The latter, \u003ci>just\u003c/i> $1.5 million.\u003c/p>\n\u003cp>“This is still a problem,” the finance report reads, “but $3.3 million less of a problem than opening and teaching next year.” The only path forward, they concluded, was a year of dormancy to rethink the school’s economic structure.\u003c/p>\n\u003cp>Mark Kushner, SFAI’s interim COO, disputes these findings, saying they are not based on current or complete financial data. (The data the finance subcommittee used came from Kushner directly; Reimagine Committee co-chair Tom Loughlin says it took months of asking to get it.)\u003c/p>\n\u003cp>While conceding there would be savings to going dormant, Kushner said in a statement, “SFAI’s leadership does not currently recommend or support this model.” Instead, SFAI is accepting applications for the 2021–2022 school year.\u003c/p>\n\u003cp>In answer to Reimagine Committee claims that SFAI does not have the cash on hand to see through even the current spring semester, board chair Lonnie Graham (who assumed Levy’s role when she \u003ca href=\"https://www.kqed.org/arts/13891689/san-francisco-art-institutes-board-chair-steps-down-amid-financial-woes-controversy\" target=\"_blank\" rel=\"noopener noreferrer\">stepped down\u003c/a> at the end of January) wrote, “The Board is committed to see current students through the end of the academic year and SFAI has the funds to honor this commitment.”\u003c/p>\n\u003ch2>Beautiful Seeds\u003c/h2>\n\u003cp>In the announcement of Levy’s departure from the board, SFAI listed one of her accomplishments as “engaging in a community-wide initiative to reimagine the institution’s programs and business model.”\u003c/p>\n\u003cp>[aside postID='arts_13889433']Yet the opportunity for the board to truly “engage” with the Reimagine Committee has come and gone. Now that the group has disbanded, the board has issued \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/SFAI-Board-1-17-21-Response-to-Reimagine-Committee-1-15-21-Statement-Final.pdf\">statements\u003c/a> contradicting the committee’s financial findings while touting their own ability to stave off bankruptcy and closure.\u003c/p>\n\u003cp>“We were asked to reevaluate the school holistically, from governance to marketing, but when we came back saying the current governance model wasn’t in line with SFAI’s core values as an institution, then our work is suddenly irrelevant?” White asks. “I hope not. This collective process to rethink art education is unprecedented, and I feel the school needs to lean in further. We’re just getting started.”\u003c/p>\n\u003cp>For many members of the Reimagine Committee, simply convening over those six months was a meaningful form of change. “I’ve never felt more included in a process like this at SFAI as a student or staff,” says Rye Purvis, who graduated in 2011 and was working in student affairs when the school closed its campuses due to the pandemic. She co-chaired the sustainability and environmental justice subcommittee with faculty member Thor Anderson.\u003c/p>\n\u003cp>“These things take time,” she says, pointing to the large audience at the Reimagine Committee’s public presentation. “One person out of those 200 people or so might say, ‘That’s a great idea, let me see if I can implement that where I work.’”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>This article has been updated to more accurately reflect the agreement between SFAI and the University of California and the sequence of events that led to the board’s cancellation of the Reimagine Committee’s final presentation.\u003c/i>\u003c/p>\n\n",
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"headline": "The San Francisco Art Institute That Could Have Been",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Almost everyone agrees on one thing: For the San Francisco Art Institute to have a future, it will need to change. But like most slow-moving objects that have been laden with debt, it’s having trouble altering its course.\u003c/p>\n\u003cp>SFAI’s most recent troubles began in March 2020, when the school, facing budget shortfalls after a failed merger attempt, \u003ca href=\"https://www.kqed.org/arts/13877340/san-francisco-art-institute-to-close-at-end-of-spring-semester\" target=\"_blank\" rel=\"noopener noreferrer\">announced\u003c/a> it would halt enrollment and was preparing to lay off staff and faculty. In short order, the school’s president stepped down, students were encouraged to enroll elsewhere and nearly all adjunct faculty lost their jobs. In the fall, the University of California \u003ca href=\"https://missionlocal.org/2020/12/uc-regents-buy-sf-art-institutes-19-7m-debt-are-now-schools-landlords-will-sfais-diego-rivera-mural-be-next-to-sell/\" target=\"_blank\" rel=\"noopener noreferrer\">stepped in\u003c/a> to save SFAI from foreclosure, buying the school’s $19.7 million debt from a private bank.\u003c/p>\n\u003cp>The University of California is now SFAI’s landlord. If SFAI has any intention of owning its Chestnut Street campus again, it will need to repay that $19.7 million (plus interest) within the next six years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Only network television could cram more drama into such a short period of time, but before 2020 ended, two more bombshells landed. One was that SFAI’s board of trustees was considering the sale of the Chestnut Street campus’ 1931 \u003ca href=\"https://www.kqed.org/arts/13891106/diego-rivera-mural-at-sfai-to-receive-landmark-designation-preventing-possible-sale\" target=\"_blank\" rel=\"noopener noreferrer\">Diego Rivera mural\u003c/a>. The other was it had voted to spend \u003ca href=\"https://www.nytimes.com/2021/01/22/arts/design/san-francisco-art-institute-pam-rorke-levy.html\" target=\"_blank\" rel=\"noopener noreferrer\">$1.5 million\u003c/a> from the school’s endowment, which \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/Committee-to-Reimagine-SFAI-Statement-1-15-21.pdf\">raised concern and objection\u003c/a>.\u003c/p>\n\u003cp>For a board-initiated group of alumni, staff and faculty, who for six months had diligently worked on a vision for SFAI’s future, this was the final straw, the final breach of trust in a long series of unmet promises, contradictory messages and decisions clouded in secrecy. The Committee to Reimagine SFAI had met at least once a week since August, putting in countless hours to envision a school rooted in lower tuitions, new power dynamics and the principles of diversity, equity, inclusion and accessibility.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With the mural under threat and the questioned endowment spending approved, all good faith evaporated. The committee’s co-chairs \u003ca href=\"https://41d5f226-1469-4135-a0cb-32a7e9e23c6e.filesusr.com/ugd/15cf86_df52f0a900684113b2f98402181921aa.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">called\u003c/a> for then-board chair Pam Rorke Levy to step down as a condition of “[sharing] our work with the board.” The board declined.\u003c/p>\n\u003cp>Now, the Reimagine Committee’s findings exist in a bizarre limbo. The board canceled their final presentation the day before it was set to take place, the co-chairs formally resigned and the committee dissolved after making a town hall presentation to the public on Jan. 14. A recording of that two-hour session \u003ca href=\"https://www.sfartistsalumni.org/re-imagine-town-hall-jan2021\" target=\"_blank\" rel=\"noopener noreferrer\">lives online\u003c/a>, along with PDFs created by subcommittees focusing on issues like pedagogy, finance and governance.\u003c/p>\n\u003cp>But whether SFAI’s board will watch the presentation, let alone incorporate its recommendations, remains to be seen. The board says the committee missed a Dec. 31 deadline to submit their final report, but is still eager to hear their recommendations. “With all of the efforts the Reimagine Committee put into creating their commissioned findings and report, we continue to invite them to share it with the board,” said vice chair John Marx in a statement provided to KQED. He says the board finds it “a bit of a mystery as to why” the Reimagine Committee has “withheld it.”\u003c/p>\n\u003cp>Lost in the back and forth are ideas that represent the best of what SFAI could be, if the school only had the time, money or interest to implement them.\u003c/p>\n\u003ch2>‘Everything Was on the Table’\u003c/h2>\n\u003cp>The impasse may come down to a fundamental difference in power dynamics. After all, the Reimagine Committee wanted to see more faculty, staff and student participation at the highest level of SFAI’s governance.\u003c/p>\n\u003cp>When asked about this proposed shift, Marx said the school’s financial position is the foremost concern. “The board’s urgent and immediate priorities are to see through the current semester and to start rebuilding enrollment for the upcoming school year,” his statement reads. “As we create a forum to listen, with the intention of healing, we are committed to looking at how we can make the process more inclusive and open to the broader community. The form that takes will evolve as we all learn to build bridges of trust.”\u003c/p>\n\u003cp>And yet, the Reimagine Committee was made up of the “broader community.” Part of its activity was regular meetings with board members to keep everyone updated on the committee’s progress. Among its suggestions are a number of ways to make SFAI’s governance more inclusive. Marx’s answer, in other words, seems to describe work the Reimagine Committee has already done.\u003c/p>\n\u003cfigure id=\"attachment_13892129\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13892129\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/Governance_Reimagine_1200.jpg\" alt=\"\" width=\"1200\" height=\"740\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Governance_Reimagine_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Governance_Reimagine_1200-800x493.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Governance_Reimagine_1200-1020x629.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Governance_Reimagine_1200-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/Governance_Reimagine_1200-768x474.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The opening slide from the governance subcommittee’s presentation on Jan. 14. \u003ccite>(Courtesy Reimagine Committee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Reimagine Committee began taking shape in July 2020 with the selection of three co-chairs by the SFAI board, all alumni: Tom Loughlin, Karen Topakian and Christopher Williams. (Though Williams stepped down earlier in December.) The co-chairs gathered a formidable assembly. Adjunct and full-time faculty joined on, along with staff representatives and volunteers selected from an open call to the alumni population. Further community members joined various subcommittees. All told, over 50 people participated in the process.\u003c/p>\n\u003cp>According to the co-chairs, Levy said “everything was on the table.” She assured the committee the board would fundraise to make sure the school could actually implement their suggestions.\u003c/p>\n\u003cp>Over the course of 22 committee meetings and even more subcommittee meetings, the Reimagine team looked at the school’s existing strengths and weaknesses, examining programming, student populations and how programs could be funded. One week, Assistant Professor and Photo Department Chair Lindsey White, who co-chaired the governance sub-committee, says she spent 13 hours in meetings, not including an additional seven to nine hours of planning. Despite the time commitment, by all accounts, this volunteer group genuinely enjoyed hashing out difficult ideas.\u003c/p>\n\u003cp>“People dedicated so many hours and we were all learning together,” White says. “That’s really important and what kept the whole thing going. It was amazing to have a space to really learn with and from each other.”\u003c/p>\n\u003cp>Topakian, who was the board chair of Greenpeace for eight years, has plenty of experience creating productive agendas. But the trick with the Reimagine Committee, she says, was to get everyone on equal footing. Former students and their professors were now co-chairing subcommittees.\u003c/p>\n\u003cp>“I said early on that my belief and my practice was to model good behavior,” Topakian says. “So I wanted to show there was another way to bring disparate groups of people together to come up with the best possible outcome.” Among that good behavior, she says, was acknowledging the pain and turmoil people experienced (especially during the past year), but not letting those experiences keep the Reimagine Committee from dreaming up a better SFAI.\u003c/p>\n\u003ch2>Optimistic Realism\u003c/h2>\n\u003cp>From the start, the Reimagine Committee emerged as a serious working group. They reached out to experts in various fields to inform their recommendations in pedagogy; diversity, equity, accessibility and inclusion; fundraising; marketing, enrollment and communications; sustainability and environmental justice; finance; and governance.\u003c/p>\n\u003cp>Many of the concepts they discussed have long been circulating through the halls of higher education and its alternatives. But it’s rare to see an entire school re-thought from the ground up, especially by a group of people intimately acquainted with the inner workings of that institution.\u003c/p>\n\u003cp>Some of the most compelling recommendations:\u003c/p>\n\u003cul>\n\u003cli>Offer a three-year MFA program to just 20 students at a time (in contrast to a pre-pandemic class size of 40–50).\u003c/li>\n\u003cli>Provide sensitivity training at every level of the institution, including students and administrators.\u003c/li>\n\u003cli>Make SFAI physically accessible (the Chestnut Street campus is currently an M.C.-Escher-like arrangement of stairs and few ramps).\u003c/li>\n\u003cli>Establish a cooperative governance structure, with staff rotating in and out of a 15-person board of directors.\u003c/li>\n\u003cli>Share as many documents and financial statements as legally possible.\u003c/li>\n\u003c/ul>\n\u003cp>Many of the proposals were direct responses to SFAI’s perceived shortcomings; transparency was obviously a core issue. In the Jan. 14 town hall, the depth and intricacy of the Reimagine Committee’s presentations were invigorating. This was the clearest and most compelling vision of SFAI that anyone had seen in the past year.\u003c/p>\n\u003cp>And unlike some board-issued statements regarding the school’s financial situation, the Reimagine Committee didn’t sugarcoat their findings. The finance team, represented by Stephen Mangum, laid out the numbers put together from financial records provided by the school.\u003c/p>\n\u003cfigure id=\"attachment_13892128\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13892128\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/FinanceModel.jpg\" alt=\"\" width=\"1200\" height=\"822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/FinanceModel.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/FinanceModel-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/FinanceModel-1020x699.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/FinanceModel-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/FinanceModel-768x526.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A slide from the finance subcommittee’s Jan. 14 presentation, showing projected deficits for different approaches to the 2021–22 school year. \u003ccite>(Courtesy Reimagine Committee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Based on SFAI’s new agreement with the University of California, it will be making interim rent payments over the next six years, with a balloon payment of $24.1 million due in 2027 to reclaim its Chestnut Street campus. The finance team looked at two near-term scenarios for the 2021–2022 school year: operating with about 50 students at the current tuition (around $46,000) or going dormant. According to their modeling, the former would yield a $4.8 million deficit. The latter, \u003ci>just\u003c/i> $1.5 million.\u003c/p>\n\u003cp>“This is still a problem,” the finance report reads, “but $3.3 million less of a problem than opening and teaching next year.” The only path forward, they concluded, was a year of dormancy to rethink the school’s economic structure.\u003c/p>\n\u003cp>Mark Kushner, SFAI’s interim COO, disputes these findings, saying they are not based on current or complete financial data. (The data the finance subcommittee used came from Kushner directly; Reimagine Committee co-chair Tom Loughlin says it took months of asking to get it.)\u003c/p>\n\u003cp>While conceding there would be savings to going dormant, Kushner said in a statement, “SFAI’s leadership does not currently recommend or support this model.” Instead, SFAI is accepting applications for the 2021–2022 school year.\u003c/p>\n\u003cp>In answer to Reimagine Committee claims that SFAI does not have the cash on hand to see through even the current spring semester, board chair Lonnie Graham (who assumed Levy’s role when she \u003ca href=\"https://www.kqed.org/arts/13891689/san-francisco-art-institutes-board-chair-steps-down-amid-financial-woes-controversy\" target=\"_blank\" rel=\"noopener noreferrer\">stepped down\u003c/a> at the end of January) wrote, “The Board is committed to see current students through the end of the academic year and SFAI has the funds to honor this commitment.”\u003c/p>\n\u003ch2>Beautiful Seeds\u003c/h2>\n\u003cp>In the announcement of Levy’s departure from the board, SFAI listed one of her accomplishments as “engaging in a community-wide initiative to reimagine the institution’s programs and business model.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Yet the opportunity for the board to truly “engage” with the Reimagine Committee has come and gone. Now that the group has disbanded, the board has issued \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/SFAI-Board-1-17-21-Response-to-Reimagine-Committee-1-15-21-Statement-Final.pdf\">statements\u003c/a> contradicting the committee’s financial findings while touting their own ability to stave off bankruptcy and closure.\u003c/p>\n\u003cp>“We were asked to reevaluate the school holistically, from governance to marketing, but when we came back saying the current governance model wasn’t in line with SFAI’s core values as an institution, then our work is suddenly irrelevant?” White asks. “I hope not. This collective process to rethink art education is unprecedented, and I feel the school needs to lean in further. We’re just getting started.”\u003c/p>\n\u003cp>For many members of the Reimagine Committee, simply convening over those six months was a meaningful form of change. “I’ve never felt more included in a process like this at SFAI as a student or staff,” says Rye Purvis, who graduated in 2011 and was working in student affairs when the school closed its campuses due to the pandemic. She co-chaired the sustainability and environmental justice subcommittee with faculty member Thor Anderson.\u003c/p>\n\u003cp>“These things take time,” she says, pointing to the large audience at the Reimagine Committee’s public presentation. “One person out of those 200 people or so might say, ‘That’s a great idea, let me see if I can implement that where I work.’”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>This article has been updated to more accurately reflect the agreement between SFAI and the University of California and the sequence of events that led to the board’s cancellation of the Reimagine Committee’s final presentation.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The family of legendary singer Tony Bennett—a staple presence who introduced generations to the American songbook and pop standards—says he has Alzheimer’s disease.\u003c/p>\n\u003cp>The announcement was made in \u003ca href=\"https://www.aarp.org/entertainment/celebrities/info-2021/tony-bennett-alzheimers.html\" target=\"_blank\" rel=\"noopener noreferrer\">a profile of Bennett\u003c/a> published by \u003cem>AARP The Magazine\u003c/em> on Monday; his wife, Susan Benedetto, says that he was diagnosed with the debilitating disease in 2016. On Monday morning, Bennett’s Twitter account posted \u003ca href=\"https://twitter.com/itstonybennett/status/1356232201810157568?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Etweet\" target=\"_blank\" rel=\"noopener noreferrer\">a note\u003c/a> in the singer’s name, writing: “Life is a gift—even with Alzheimer’s. Thank you to Susan and my family for their support, and \u003cem>AARP The Magazine\u003c/em> for telling my story.”\u003c/p>\n\u003cp>Benedetto also gave an interview to \u003ca href=\"https://www.cbsnews.com/news/tony-bennett-alzheimers-disease/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>CBS This Morning\u003c/em>\u003c/a> on Monday, saying that Bennett is still able to rehearse twice a week at home, singing for an hour or so at a time.\u003c/p>\n\u003cp>Benedetto told \u003cem>AARP\u003c/em> that the singer is often disoriented and sometimes doesn’t recognize the utility of household objects such as forks or keys, but that he still recognizes family members.\u003c/p>\n\u003cp>Despite his battle, Bennett has recorded a new album of duets with Lady Gaga as a follow-up to their 2014 project, \u003cem>Cheek to Cheek.\u003c/em> According to\u003cem> AARP\u003c/em>, the new material was recorded “in widely spaced sessions” between 2018 and early last year and Gaga was aware of his disease while they were recording.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When the \u003cem>AARP \u003c/em>journalist asked the singer in early November 2020 if he was excited about the project, however, Bennett “stared silently.”\u003c/p>\n\u003cp>The family—chiefly his wife and his son, Danny, who has managed Bennett’s career for the past 40 years (and who \u003ca href=\"https://variety.com/2019/music/news/verve-records-president-danny-bennett-steps-down-1203169829/\" target=\"_blank\" rel=\"noopener noreferrer\">led\u003c/a> the Verve record label between 2016 and 2019)—told \u003cem>AARP\u003c/em> that they felt that with this new—and perhaps final—album scheduled for release this spring, it was time to disclose his condition.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EIoyTlfUPPU\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=Tony+Bennett+Has+Alzheimer%27s+Disease&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The family of legendary singer Tony Bennett—a staple presence who introduced generations to the American songbook and pop standards—says he has Alzheimer’s disease.\u003c/p>\n\u003cp>The announcement was made in \u003ca href=\"https://www.aarp.org/entertainment/celebrities/info-2021/tony-bennett-alzheimers.html\" target=\"_blank\" rel=\"noopener noreferrer\">a profile of Bennett\u003c/a> published by \u003cem>AARP The Magazine\u003c/em> on Monday; his wife, Susan Benedetto, says that he was diagnosed with the debilitating disease in 2016. On Monday morning, Bennett’s Twitter account posted \u003ca href=\"https://twitter.com/itstonybennett/status/1356232201810157568?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Etweet\" target=\"_blank\" rel=\"noopener noreferrer\">a note\u003c/a> in the singer’s name, writing: “Life is a gift—even with Alzheimer’s. Thank you to Susan and my family for their support, and \u003cem>AARP The Magazine\u003c/em> for telling my story.”\u003c/p>\n\u003cp>Benedetto also gave an interview to \u003ca href=\"https://www.cbsnews.com/news/tony-bennett-alzheimers-disease/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>CBS This Morning\u003c/em>\u003c/a> on Monday, saying that Bennett is still able to rehearse twice a week at home, singing for an hour or so at a time.\u003c/p>\n\u003cp>Benedetto told \u003cem>AARP\u003c/em> that the singer is often disoriented and sometimes doesn’t recognize the utility of household objects such as forks or keys, but that he still recognizes family members.\u003c/p>\n\u003cp>Despite his battle, Bennett has recorded a new album of duets with Lady Gaga as a follow-up to their 2014 project, \u003cem>Cheek to Cheek.\u003c/em> According to\u003cem> AARP\u003c/em>, the new material was recorded “in widely spaced sessions” between 2018 and early last year and Gaga was aware of his disease while they were recording.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When the \u003cem>AARP \u003c/em>journalist asked the singer in early November 2020 if he was excited about the project, however, Bennett “stared silently.”\u003c/p>\n\u003cp>The family—chiefly his wife and his son, Danny, who has managed Bennett’s career for the past 40 years (and who \u003ca href=\"https://variety.com/2019/music/news/verve-records-president-danny-bennett-steps-down-1203169829/\" target=\"_blank\" rel=\"noopener noreferrer\">led\u003c/a> the Verve record label between 2016 and 2019)—told \u003cem>AARP\u003c/em> that they felt that with this new—and perhaps final—album scheduled for release this spring, it was time to disclose his condition.\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/EIoyTlfUPPU'\n title='//www.youtube.com/embed/EIoyTlfUPPU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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=Tony+Bennett+Has+Alzheimer%27s+Disease&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Lowell High School Doc Premieres at Sundance While Campus Reels from Racist Incident",
"headTitle": "Lowell High School Doc Premieres at Sundance While Campus Reels from Racist Incident | KQED",
"content": "\u003cp>Bay Area filmmaker \u003ca href=\"https://www.imdb.com/name/nm0525818/\" target=\"_blank\" rel=\"noopener noreferrer\">Debbie Lum\u003c/a>’s new documentary \u003ca href=\"https://tryharderfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Try Harder!\u003c/em>\u003c/a> begins by underscoring popular beliefs about \u003ca href=\"https://www.sfusd.edu/school/lowell-high-school\" target=\"_blank\" rel=\"noopener noreferrer\">Lowell High School\u003c/a>:\u003c/p>\n\u003cp>The nationally ranked San Francisco public high school is highly competitive (“Lowell is the ultimate self-confidence crusher!”); the students are excellent at multitasking (“I’m the captain of the tennis team. I’m also co-president of Lowell BuildOn, vice president of Girls who Code and the editor of the school newspaper too!”); and the majority are Asian American (“My friend, he said, ‘Oh, you go to an Asian Excellency School!’”)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nSA6-fDXxqc\u003c/p>\n\u003cp>But Lum is interested in digging beneath the stereotypes with her documentary—especially when it comes to race.\u003c/p>\n\u003cp>\u003cem>Try Harder!\u003c/em> shows the pressures facing a group of high-achieving seniors at Lowell as they strive to get accepted at top universities. The \u003ca href=\"https://www.eventbrite.com/e/2021-sundance-film-festival-try-harder-tickets-135708209909\" target=\"_blank\" rel=\"noopener noreferrer\">world premiere\u003c/a> of the movie at the \u003ca href=\"https://fpg.festival.sundance.org/film-info/5fd05c4e2885b80eaf9468f6\" target=\"_blank\" rel=\"noopener noreferrer\">Sundance Film Festival\u003c/a> this weekend comes as the school is reeling from the latest in a string of racist incidents on campus.\u003c/p>\n\u003cp>“My film explores what it means to be stuck in boxes, especially along the lines of racial identity and how that impacts the college application process,” Lum says in an online interview with KQED.\u003c/p>\n\u003cp>In the movie, teacher Scott Dickerman tries to encourage students to look beyond the Ivy League, because of allegations against some elite schools, like Harvard, of discriminating against Asian American applicants.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Even if you are a student who should be accepted at a school like this, you may not get in anyway,” Dickerman says. “And that in many cases has to do with a little thing called ethnicity.”\u003c/p>\n\u003cp>According to \u003ca href=\"https://dq.cde.ca.gov/dataquest/dqcensus/EnrEthLevels.aspx?cds=38684783833407&agglevel=school&year=2019-20\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Unified School District data\u003c/a> for the 2019–2020 academic year, more than 50% of Lowell students identify as Asian American—almost double the average for San Francisco public schools.\u003c/p>\n\u003cp>Meanwhile, less than 2% are Black, which comes with its own set of challenges.\u003c/p>\n\u003cp>In one scene, student Rachael Schmidt talks about the time she got a bad grade in chemistry class. She blurted out to her classmates that her mom would be upset.\u003c/p>\n\u003cfigure id=\"attachment_13891901\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13891901 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/RS46895_TRY_HARDER__Photo3-qut-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46895_TRY_HARDER__Photo3-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46895_TRY_HARDER__Photo3-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46895_TRY_HARDER__Photo3-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46895_TRY_HARDER__Photo3-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46895_TRY_HARDER__Photo3-qut.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Virginia Marshall, President of the San Francisco Alliance of Black School Educators and Co-chair of San Francisco African American Honor Roll with honor student Rachael Schmidt in a scene from Try Harder! directed by Debbie Lum. \u003ccite>(Courtesy Try Harder! Film / Lou Nakasako)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The girl across the table, she asks me, ‘Well, what ethnicity is your mom?’ And I said, ‘She’s African American,’” Schmidt says. “And she said, ‘That’s so weird, because I didn’t expect for Black people to actually care about their grades.’”\u003c/p>\n\u003cp>Lum says she observed micro-aggressions like this regularly at Lowell while shooting her film. The director began her work on the documentary not long after nearly 30 students staged a walkout protesting racism at the school in 2016.\u003c/p>\n\u003cp>So Lum wasn’t surprised to hear the news about the posting of anti-Black and anti-semitic slurs on a school-sponsored messaging platform last week.\u003c/p>\n\u003cp>“It is a problem at Lowell,” Lum says.\u003c/p>\n\u003cp>In an interview with KQED, San Francisco board of education president \u003ca href=\"https://www.sfusd.edu/about/board-of-education/board-president-gabriela-lopez\" target=\"_blank\" rel=\"noopener noreferrer\">Gabriela Lopez\u003c/a> says Lowell often gets media attention because of its national profile.\u003c/p>\n\u003cp>“This is a high school that a lot of people know and pay attention to,” Lopez says.\u003c/p>\n\u003cp>But she says the prestigious institution is by no means the only local public school grappling with racism.\u003c/p>\n\u003cp>“Whether it be in our virtual space, whether it be in our physical classrooms, this is not the first time, unfortunately, that it’s happened,” Lopez says.\u003c/p>\n\u003cfigure id=\"attachment_13891902\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13891902 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/RS46893_Justine-Orgel-qut-e1611797143190-800x607.jpg\" alt=\"\" width=\"800\" height=\"607\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46893_Justine-Orgel-qut-e1611797143190-800x607.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46893_Justine-Orgel-qut-e1611797143190-1020x774.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46893_Justine-Orgel-qut-e1611797143190-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46893_Justine-Orgel-qut-e1611797143190-768x583.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46893_Justine-Orgel-qut-e1611797143190.jpg 1525w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Current Lowell senior Justine Orgel. \u003ccite>(Courtesy Justine Orgel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Current Lowell High School senior Justine Orgel is part of a group of students that publicly condemned last week’s racist attacks. She says the school’s exclusive admissions policy based on test scores is at least partly to blame.\u003c/p>\n\u003cp>“We have this lack of representation of Black students, Hispanic students,” Orgel says.\u003c/p>\n\u003cp>The anger around racial disparities has also been exacerbated by the school board’s decision last fall to temporarily admit next year’s freshman class at Lowell using the lottery system it uses for other local schools, rather than relying on the selective grades and testing evaluation for which Lowell’s known. The decision was made because of the switch to pass/fail grading during the pandemic.\u003c/p>\n\u003cp>“With the lottery issue came lots of anger on different sides,” Orgel says. “Some people are angry because they don’t want the academic environment of Lowell to change, or they think getting rid of a merit-based system would allow anyone to enroll, implying that they don’t feel that these new students—more diverse groups since there are no barriers to entry other than lottery—deserve the spots. This triggers anger from other sides who feel that this attitude perpetuates systemic racism.”\u003c/p>\n\u003cp>Also of note: Lowell High School is among the 44 public schools in the city the school board voted this week to rename in light of the unethical ties of their namesakes. Nineteenth century writer James Russell Lowell was an abolitionist. But the committee responsible for looking into the namesakes of San Francisco schools question Lowell’s commitment to the anti-slavery cause and say he made statements about the superiority of whites over Blacks.\u003c/p>\n\u003cp>Orgel says she wants to see \u003cem>Try Harder!\u003c/em>. “I hope the film will give audiences the chance to see what the students at Lowell High School are really up against,” she says.\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Area filmmaker \u003ca href=\"https://www.imdb.com/name/nm0525818/\" target=\"_blank\" rel=\"noopener noreferrer\">Debbie Lum\u003c/a>’s new documentary \u003ca href=\"https://tryharderfilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Try Harder!\u003c/em>\u003c/a> begins by underscoring popular beliefs about \u003ca href=\"https://www.sfusd.edu/school/lowell-high-school\" target=\"_blank\" rel=\"noopener noreferrer\">Lowell High School\u003c/a>:\u003c/p>\n\u003cp>The nationally ranked San Francisco public high school is highly competitive (“Lowell is the ultimate self-confidence crusher!”); the students are excellent at multitasking (“I’m the captain of the tennis team. I’m also co-president of Lowell BuildOn, vice president of Girls who Code and the editor of the school newspaper too!”); and the majority are Asian American (“My friend, he said, ‘Oh, you go to an Asian Excellency School!’”)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/nSA6-fDXxqc'\n title='//www.youtube.com/embed/nSA6-fDXxqc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But Lum is interested in digging beneath the stereotypes with her documentary—especially when it comes to race.\u003c/p>\n\u003cp>\u003cem>Try Harder!\u003c/em> shows the pressures facing a group of high-achieving seniors at Lowell as they strive to get accepted at top universities. The \u003ca href=\"https://www.eventbrite.com/e/2021-sundance-film-festival-try-harder-tickets-135708209909\" target=\"_blank\" rel=\"noopener noreferrer\">world premiere\u003c/a> of the movie at the \u003ca href=\"https://fpg.festival.sundance.org/film-info/5fd05c4e2885b80eaf9468f6\" target=\"_blank\" rel=\"noopener noreferrer\">Sundance Film Festival\u003c/a> this weekend comes as the school is reeling from the latest in a string of racist incidents on campus.\u003c/p>\n\u003cp>“My film explores what it means to be stuck in boxes, especially along the lines of racial identity and how that impacts the college application process,” Lum says in an online interview with KQED.\u003c/p>\n\u003cp>In the movie, teacher Scott Dickerman tries to encourage students to look beyond the Ivy League, because of allegations against some elite schools, like Harvard, of discriminating against Asian American applicants.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Even if you are a student who should be accepted at a school like this, you may not get in anyway,” Dickerman says. “And that in many cases has to do with a little thing called ethnicity.”\u003c/p>\n\u003cp>According to \u003ca href=\"https://dq.cde.ca.gov/dataquest/dqcensus/EnrEthLevels.aspx?cds=38684783833407&agglevel=school&year=2019-20\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Unified School District data\u003c/a> for the 2019–2020 academic year, more than 50% of Lowell students identify as Asian American—almost double the average for San Francisco public schools.\u003c/p>\n\u003cp>Meanwhile, less than 2% are Black, which comes with its own set of challenges.\u003c/p>\n\u003cp>In one scene, student Rachael Schmidt talks about the time she got a bad grade in chemistry class. She blurted out to her classmates that her mom would be upset.\u003c/p>\n\u003cfigure id=\"attachment_13891901\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13891901 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/RS46895_TRY_HARDER__Photo3-qut-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46895_TRY_HARDER__Photo3-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46895_TRY_HARDER__Photo3-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46895_TRY_HARDER__Photo3-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46895_TRY_HARDER__Photo3-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46895_TRY_HARDER__Photo3-qut.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Virginia Marshall, President of the San Francisco Alliance of Black School Educators and Co-chair of San Francisco African American Honor Roll with honor student Rachael Schmidt in a scene from Try Harder! directed by Debbie Lum. \u003ccite>(Courtesy Try Harder! Film / Lou Nakasako)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The girl across the table, she asks me, ‘Well, what ethnicity is your mom?’ And I said, ‘She’s African American,’” Schmidt says. “And she said, ‘That’s so weird, because I didn’t expect for Black people to actually care about their grades.’”\u003c/p>\n\u003cp>Lum says she observed micro-aggressions like this regularly at Lowell while shooting her film. The director began her work on the documentary not long after nearly 30 students staged a walkout protesting racism at the school in 2016.\u003c/p>\n\u003cp>So Lum wasn’t surprised to hear the news about the posting of anti-Black and anti-semitic slurs on a school-sponsored messaging platform last week.\u003c/p>\n\u003cp>“It is a problem at Lowell,” Lum says.\u003c/p>\n\u003cp>In an interview with KQED, San Francisco board of education president \u003ca href=\"https://www.sfusd.edu/about/board-of-education/board-president-gabriela-lopez\" target=\"_blank\" rel=\"noopener noreferrer\">Gabriela Lopez\u003c/a> says Lowell often gets media attention because of its national profile.\u003c/p>\n\u003cp>“This is a high school that a lot of people know and pay attention to,” Lopez says.\u003c/p>\n\u003cp>But she says the prestigious institution is by no means the only local public school grappling with racism.\u003c/p>\n\u003cp>“Whether it be in our virtual space, whether it be in our physical classrooms, this is not the first time, unfortunately, that it’s happened,” Lopez says.\u003c/p>\n\u003cfigure id=\"attachment_13891902\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13891902 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/RS46893_Justine-Orgel-qut-e1611797143190-800x607.jpg\" alt=\"\" width=\"800\" height=\"607\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46893_Justine-Orgel-qut-e1611797143190-800x607.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46893_Justine-Orgel-qut-e1611797143190-1020x774.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46893_Justine-Orgel-qut-e1611797143190-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46893_Justine-Orgel-qut-e1611797143190-768x583.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RS46893_Justine-Orgel-qut-e1611797143190.jpg 1525w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Current Lowell senior Justine Orgel. \u003ccite>(Courtesy Justine Orgel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Current Lowell High School senior Justine Orgel is part of a group of students that publicly condemned last week’s racist attacks. She says the school’s exclusive admissions policy based on test scores is at least partly to blame.\u003c/p>\n\u003cp>“We have this lack of representation of Black students, Hispanic students,” Orgel says.\u003c/p>\n\u003cp>The anger around racial disparities has also been exacerbated by the school board’s decision last fall to temporarily admit next year’s freshman class at Lowell using the lottery system it uses for other local schools, rather than relying on the selective grades and testing evaluation for which Lowell’s known. The decision was made because of the switch to pass/fail grading during the pandemic.\u003c/p>\n\u003cp>“With the lottery issue came lots of anger on different sides,” Orgel says. “Some people are angry because they don’t want the academic environment of Lowell to change, or they think getting rid of a merit-based system would allow anyone to enroll, implying that they don’t feel that these new students—more diverse groups since there are no barriers to entry other than lottery—deserve the spots. This triggers anger from other sides who feel that this attitude perpetuates systemic racism.”\u003c/p>\n\u003cp>Also of note: Lowell High School is among the 44 public schools in the city the school board voted this week to rename in light of the unethical ties of their namesakes. Nineteenth century writer James Russell Lowell was an abolitionist. But the committee responsible for looking into the namesakes of San Francisco schools question Lowell’s commitment to the anti-slavery cause and say he made statements about the superiority of whites over Blacks.\u003c/p>\n\u003cp>Orgel says she wants to see \u003cem>Try Harder!\u003c/em>. “I hope the film will give audiences the chance to see what the students at Lowell High School are really up against,” she says.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The San Francisco Art Institute (SFAI) on Friday announced the resignation of Pam Rorke Levy, the board chair of the embattled art school who recently suggested selling a historic Diego Rivera mural to right the institution’s finances. \u003c/p>\n\u003cp>Elected as Levy’s successor is Lonnie Graham, a member of the Board since July 2020, former adjunct professor for the school and SFAI graduate. In a statement, Graham said, “As we move forward, I would like to see the San Francisco Art Institute continue to cultivate and sustain experimentation and innovation in the fine arts as we imagine an inclusive and collaborative educational environment.” \u003c/p>\n\u003cfigure id=\"attachment_13891700\" class=\"wp-caption alignright\" style=\"max-width: 320px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/LonnieGraham.jpg\" alt=\"Lonnie Graham has been named new Board Chair for the San Francisco Art Institute.\" width=\"320\" height=\"400\" class=\"size-thumbnail wp-image-13891700\">\u003cfigcaption class=\"wp-caption-text\">Lonnie Graham has been named new Board Chair for the San Francisco Art Institute. \u003ccite>(Mary Roberts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Graham steps into the role during tenuous circumstances for the 150-year-old school. On Jan. 12, the San Francisco Board of Supervisors \u003ca href=\"https://www.kqed.org/arts/13891106/diego-rivera-mural-at-sfai-to-receive-landmark-designation-preventing-possible-sale\" rel=\"noopener noreferrer\" target=\"_blank\">unanimously voted to initiate landmark status\u003c/a> for the 1931 Diego Rivera mural \u003cem>The Making of a Fresco Showing the Building of a City\u003c/em>, located inside the San Francisco Art Institute’s Chestnut Street campus. Opposed by Levy, the decision effectively squashed any plans to sell the mural, estimated to be valued at $50 million, in order to help pay off the school’s debt.\u003c/p>\n\u003cp>The University of California Regents recently bought SFAI’s $19.7 million debt, and now serve as landlords for the Chestnut Street campus. The tenant agreement is in place for six years, during which time SFAI must either repay the debt to the UC Regents or forfeit the campus. \u003c/p>\n\u003cp>SFAI Co-Vice Chairs Bonnie Levinson and Jeremy Stone also stepped down from their positions at the school. Elected in their place as Vice Chair is John Marx, a member of the board for the past four months and a co-founding principal and chief artistic officer of Form4 Architecture in San Francisco. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Also announced on Thursday was the launch of the school’s Access50 scholarship fund, seeded by a gift from RealReal CEO Julie Wainwright. In the announcement, SFAI noted that its “goal is to initially raise $8–$10 million to fund 50 students,” and ultimately build an endowment of $50 million. The amount of Wainwright’s initial gift was not specified. \u003c/p>\n\u003cp>To the \u003cem>San Francisco Chronicle\u003c/em> on Thursday, Levy touted the Access50 scholarship fund, as well as the board’s diversity, remarking proudly that “the majority of our board is either BIPOC, LGBTQ or both.”\u003c/p>\n\u003cp>But it’s debatable if that diverse board has been adequately set up for success. The school’s enrollment currently sits at just 27 students, down from over 600 students eight years ago.\u003c/p>\n\u003cp>Levy, who served as board chair for two and a half of those years, placed confidence in her successor. “[Graham] is uniquely qualified to help SFAI address its areas of improvement,” she said in a statement.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Levy will stay on the board through the end of January to assist Graham through the transition. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Art Institute (SFAI) on Friday announced the resignation of Pam Rorke Levy, the board chair of the embattled art school who recently suggested selling a historic Diego Rivera mural to right the institution’s finances. \u003c/p>\n\u003cp>Elected as Levy’s successor is Lonnie Graham, a member of the Board since July 2020, former adjunct professor for the school and SFAI graduate. In a statement, Graham said, “As we move forward, I would like to see the San Francisco Art Institute continue to cultivate and sustain experimentation and innovation in the fine arts as we imagine an inclusive and collaborative educational environment.” \u003c/p>\n\u003cfigure id=\"attachment_13891700\" class=\"wp-caption alignright\" style=\"max-width: 320px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/LonnieGraham.jpg\" alt=\"Lonnie Graham has been named new Board Chair for the San Francisco Art Institute.\" width=\"320\" height=\"400\" class=\"size-thumbnail wp-image-13891700\">\u003cfigcaption class=\"wp-caption-text\">Lonnie Graham has been named new Board Chair for the San Francisco Art Institute. \u003ccite>(Mary Roberts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Graham steps into the role during tenuous circumstances for the 150-year-old school. On Jan. 12, the San Francisco Board of Supervisors \u003ca href=\"https://www.kqed.org/arts/13891106/diego-rivera-mural-at-sfai-to-receive-landmark-designation-preventing-possible-sale\" rel=\"noopener noreferrer\" target=\"_blank\">unanimously voted to initiate landmark status\u003c/a> for the 1931 Diego Rivera mural \u003cem>The Making of a Fresco Showing the Building of a City\u003c/em>, located inside the San Francisco Art Institute’s Chestnut Street campus. Opposed by Levy, the decision effectively squashed any plans to sell the mural, estimated to be valued at $50 million, in order to help pay off the school’s debt.\u003c/p>\n\u003cp>The University of California Regents recently bought SFAI’s $19.7 million debt, and now serve as landlords for the Chestnut Street campus. The tenant agreement is in place for six years, during which time SFAI must either repay the debt to the UC Regents or forfeit the campus. \u003c/p>\n\u003cp>SFAI Co-Vice Chairs Bonnie Levinson and Jeremy Stone also stepped down from their positions at the school. Elected in their place as Vice Chair is John Marx, a member of the board for the past four months and a co-founding principal and chief artistic officer of Form4 Architecture in San Francisco. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Also announced on Thursday was the launch of the school’s Access50 scholarship fund, seeded by a gift from RealReal CEO Julie Wainwright. In the announcement, SFAI noted that its “goal is to initially raise $8–$10 million to fund 50 students,” and ultimately build an endowment of $50 million. The amount of Wainwright’s initial gift was not specified. \u003c/p>\n\u003cp>To the \u003cem>San Francisco Chronicle\u003c/em> on Thursday, Levy touted the Access50 scholarship fund, as well as the board’s diversity, remarking proudly that “the majority of our board is either BIPOC, LGBTQ or both.”\u003c/p>\n\u003cp>But it’s debatable if that diverse board has been adequately set up for success. The school’s enrollment currently sits at just 27 students, down from over 600 students eight years ago.\u003c/p>\n\u003cp>Levy, who served as board chair for two and a half of those years, placed confidence in her successor. “[Graham] is uniquely qualified to help SFAI address its areas of improvement,” she said in a statement.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Levy will stay on the board through the end of January to assist Graham through the transition. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Phil Spector, Famed Music Producer and Convicted Murderer, Dies at 81",
"headTitle": "Phil Spector, Famed Music Producer and Convicted Murderer, Dies at 81 | KQED",
"content": "\u003cp>Phil Spector, the eccentric and revolutionary music producer who transformed rock music with his “Wall of Sound” method and who later was convicted of murder, has died. He was 81.\u003c/p>\n\u003cp>California state prison officials said he died Saturday of natural causes at a hospital.\u003c/p>\n\u003cp>Spector was convicted of murdering actress Lana Clarkson in 2003 at his castle-like mansion on the edge of Los Angeles. After a trial in 2009, he was sentenced to 19 years to life.\u003c/p>\n\u003cp>While most sources give Spector’s birth date as 1940, it was listed as 1939 in court documents following his arrest. His lawyer subsequently confirmed that date to The Associated Press.\u003c/p>\n\u003cp>Clarkson, star of “Barbarian Queen” and other B-movies, was found shot to death in the foyer of Spector’s mansion in the hills overlooking Alhambra, a modest suburban town on the edge of Los Angeles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Until the actress’ death, which Spector maintained was an “accidental suicide,” few residents even knew the mansion belonged to the reclusive producer, who spent his remaining years in a prison hospital east of Stockton.\u003c/p>\n\u003cp>Decades before, Spector had been hailed as a visionary for channeling Wagnerian ambition into the three-minute song, creating the “Wall of Sound” that merged spirited vocal harmonies with lavish orchestral arrangements to produce such pop monuments as “Da Doo Ron Ron,” “Be My Baby” and “He’s a Rebel.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13891395\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/e327f937-59cc-4649-8746-bbe788dce6be.jpg\" alt=\"\" width=\"689\" height=\"700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/e327f937-59cc-4649-8746-bbe788dce6be.jpg 689w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/e327f937-59cc-4649-8746-bbe788dce6be-160x163.jpg 160w\" sizes=\"(max-width: 689px) 100vw, 689px\">\u003c/p>\n\u003cp>He was the rare self-conscious artist in rock’s early years and cultivated an image of mystery and power with his dark shades and impassive expression.\u003c/p>\n\u003cp>Tom Wolfe declared him the “first tycoon of teen.” Bruce Springsteen and Brian Wilson openly replicated his grandiose recording techniques and wide-eyed romanticism, and John Lennon called him “the greatest record producer ever.”\u003c/p>\n\u003cp>The secret to his sound: an overdubbed onslaught of instruments, vocals and sound effects that changed the way pop records were recorded. He called the result, “Little symphonies for the kids.”\u003c/p>\n\u003cp>By his mid-20s his “little symphonies” had resulted in nearly two dozen hit singles and made him a millionaire. “You’ve Lost That Lovin’ Feeling,” the operatic Righteous Brothers ballad which topped the charts in 1965, has been tabulated as the song most played on radio and television — counting the many cover versions — in the 20th century.\u003c/p>\n\u003cp>But thanks in part to the arrival of the Beatles, his chart success would soon fade. When “River Deep-Mountain High,” an aptly-named 1966 release that featured Tina Turner, failed to catch on, Spector shut down his record label and withdrew from the business for three years. He would go on to produce the Beatles and Lennon among others, but he was now serving the artists, instead of the other way around.\u003c/p>\n\u003cp>In 1969, Spector was called in to salvage the Beatles’ “Let It Be” album, a troubled “back to basics” production marked by dissension within the band. Although Lennon praised Spector’s work, bandmate Paul McCartney was enraged, especially when Spector added strings and a choir to McCartney’s “The Long and Winding Road.” Years later, McCartney would oversee a remastered “Let it Be,” removing Spector’s contributions.\u003c/p>\n\u003cp>A documentary of the making of Lennon’s 1971 “Imagine” album showed the ex-Beatle clearly in charge, prodding Spector over a backing vocal, a line none of Spector’s early artists would have dared cross.\u003c/p>\n\u003cp>Spector worked on George Harrison’s acclaimed post-Beatles triple album, “All Things Must Pass,” co-produced Lennon’s “Imagine,” and the less successful “Some Time in New York City,” which included Spector’s picture over a caption that read, “To Know Him is to Love Him.”\u003c/p>\n\u003cp>Spector also had a memorable film role, a cameo as a drug dealer in “Easy Rider.” The producer himself was played by Al Pacino in a 2013 HBO movie.\u003c/p>\n\u003cp>The volume, and violence, of Spector’s music reflected a dark side he could barely contain even at his peak. He was imperious, temperamental and dangerous, remembered bitterly by Darlene Love, Ronnie Spector and others who worked with him.\u003c/p>\n\u003cp>Years of stories of his waving guns at recording artists in the studio and threatening women would come back to haunt him after Clarkson’s death.\u003c/p>\n\u003cp>According to witnesses she had agreed, somewhat reluctantly, to accompany him home from the Sunset Strip’s House of Blues in West Hollywood, where she worked Shortly after their arrival in Alhambra in the pre-dawn hours of Feb. 3, 2003, a chauffeur reported Spector came out of the house holding a gun, blood on his hands, and told him, “I think I killed somebody.”\u003c/p>\n\u003cp>He would later tell friends Clarkson had shot herself. The case was fraught with mystery, and it took authorities a year to file charges. In the meantime, Spector remained free on $1 million bail.\u003c/p>\n\u003cp>When he was finally indicted for murder, he lashed out at authorities, angrily telling reporters: “The actions of the Hitler-like DA and his storm trooper henchmen are reprehensible, unconscionable and despicable.”\u003c/p>\n\u003cp>As a defendant, his eccentricity took center stage. He would arrive in court for pretrial hearings in theatrical outfits, usually featuring high-heeled boots, frock coats and wildly styled wigs. He arrived at one hearing in a chauffeur-driven stretch Hummer.\u003c/p>\n\u003cp>Once the 2007 trial began, however, he toned down his attire. It ended in a 10-2 deadlock leaning toward conviction. His defense had argued that the actress, despondent about her fading career, shot herself through the mouth. A retrial got underway in October 2008.\u003c/p>\n\u003cfigure id=\"attachment_13891394\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891394\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/GettyImages-88399766-800x499.jpg\" alt=\"In this handout photo provided by the California Department of Corrections and Rehabilitation (CDCR), inmate Phillip Spector poses for his mugshot photo on June 5, 2009 at North Kern State Prison in Delano, California. \" width=\"800\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/GettyImages-88399766-800x499.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/GettyImages-88399766-1020x637.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/GettyImages-88399766-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/GettyImages-88399766-768x479.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/GettyImages-88399766.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In this handout photo provided by the California Department of Corrections and Rehabilitation (CDCR), inmate Phillip Spector poses for his mugshot photo on June 5, 2009 at North Kern State Prison in Delano, California. \u003ccite>(CDCR via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Harvey Phillip Spector, in his mid-60s when he was charged with murder, had been born on Dec. 26, 1939, in New York City’s borough of the Bronx. Bernard Spector, his father, was an ironworker. His mother, Bertha, was a seamstress. In 1947, Spector’s father committed suicide because of family indebtedness, an event that would shape his son’s life in many ways.\u003c/p>\n\u003cp>Four years later, Spector’s mother moved the family to Los Angeles, where Phil attended Fairfax High School, located in a largely Jewish neighborhood on the edge of Hollywood. For decades the school has been a source of future musical talent. At Fairfax, Spector performed in talent shows and formed a group called the Teddy Bears with friends.\u003c/p>\n\u003cp>He was reserved and insecure, but his musical abilities were obvious. He had perfect pitch and easily learned to play several instruments. He was just 17 when his group recorded its first hit single, a romantic ballad written and produced by Spector that would become a pop classic: “To Know Him is to Love Him,” was inspired by the inscription on his father’s tombstone.\u003c/p>\n\u003cp>A short, skinny kid with big dreams and growing demons, Spector went on to attend the University of California, Los Angeles for a year before dropping out to return to New York. He briefly considered becoming a French interpreter at the United Nations before falling in with the musicians at New York’s celebrated Brill Building. The Broadway edifice was then at the heart of popular music’s Tin Pan Alley, where writers, composers, singers and musicians turned out hit songs.\u003c/p>\n\u003cp>He began working with star composers Jerry Leiber and Mike Stoller, who had met at Fairfax High a few years before Spector arrived. Ultimately, he found his niche in producing. During this period he also co-wrote the hit song, “Spanish Harlem,” with Ben E. King, and played lead guitar on the Drifters’ “On Broadway.”\u003c/p>\n\u003cp>“I had come back to New York from California where there were all these green lawns and trees, and there was just this poverty and decay in Harlem,” he would recall later. “The song was an expression of hope and faith in the young people of Harlem … that there would be better times ahead.”\u003c/p>\n\u003cp>For a time he had his own production company, Philles Records, with partner Lester Silles, where he developed his signature sound. He assembled such respected studio musicians as arranger Jack Nitzsche, guitarist Tommy Tedesco, pianist Leon Russell and drummer Hal Blaine, and gave early breaks to Glen Campbell, Sonny Bono and Bono’s future wife, Cher.\u003c/p>\n\u003cp>In the early 1960s, he had hit after hit and one notable flop: the album “A Christmas Gift to You,” released, tragically, on Nov. 22, 1963, the day President Kennedy was assassinated, the worst possible time for such a joyous record. “A Christmas Gift,” featuring the Ronettes singing “Frosty the Snowman” and Love’s version of “White Christmas,” is now considered a classic and a perennial radio favorite during the holiday season.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-large wp-image-13891396\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/ccf21052010_00000-1020x981.jpg\" alt=\"\" width=\"640\" height=\"616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ccf21052010_00000-1020x981.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ccf21052010_00000-800x769.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ccf21052010_00000-160x154.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ccf21052010_00000-768x739.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ccf21052010_00000.jpg 1386w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003cp>Spector’s domestic life, along with his career, eventually came apart. After his first marriage, to Annette Merar, broke up, Ronettes leader singer Ronnie Bennett became his girlfriend and muse. He married her in 1968 and they adopted three children. But she divorced him after six years, claiming in a memoir that he held her prisoner in their mansion, where she said he kept a gold coffin in the basement and told her he would kill her and put her in it if she ever tried to leave him.\u003c/p>\n\u003cp>When the Ronettes were inducted into the Rock and Roll Hall of Fame in 2007, Spector sent along his congratulations. But in an acceptance speech by his ex-wife, she never mentioned him while thanking numerous other people.\u003c/p>\n\u003cp>Darlene Love also feuded with him, accusing Spector of failing to credit her for her vocals on “He’s a Rebel” and other songs, but she did praise him when inducted into the Hall.\u003c/p>\n\u003cp>Spector himself became a Hall member in 1989. As his marriages deteriorated, recording artists also began to quit working with Spector and musical styles passed him by.\u003c/p>\n\u003cp>He preferred singles to albums, calling the latter, “Two hits and 10 pieces of junk.” He initially refused to record his music in multichannel stereo, claiming the process damaged the sound. A Spector box set retrospective was called “Back to Mono.”\u003c/p>\n\u003cp>By the mid-1970s, Spector had largely retreated from the music business. He would emerge occasionally to work on special projects, including Leonard Cohen’s album, “Death of a Ladies’ Man” and The Ramones’ “End of the Century.” Both were marred by reports of Spector’s instability.\u003c/p>\n\u003cp>In 1973, Lennon worked on an album of rock ‘n roll oldies with Spector, only to have Spector disappear with the tapes. The finished work, “Rock ‘n’ Roll,” didn’t come out until 1975.\u003c/p>\n\u003cp>In 1982 Spector married Janis Lynn Zavala and the couple had twins, Nicole and Phillip Jr. The boy died at age 10 of leukemia.\u003c/p>\n\u003cp>Six months before his first murder trial began, Spector married Rachelle Short, a 26-year-old singer and actress who accompanied him to court every day. He filed for divorce in 2016.\u003c/p>\n\u003cp>In a 2005 court deposition, he testified that he had been on medication for manic depression for eight years.\u003c/p>\n\u003cp>“No sleep, depression, mood changes, mood swings, hard to live with, hard to concentrate, just hard — a hard time getting through life,” he said. “I’ve been called a genius and I think a genius is not there all the time and has borderline insanity.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Linda Deutsch is a retired special correspondent for The Associated Press. The Spector murder trial was one of many sensational cases she covered during her 48-year career as a Los Angeles-based trial reporter.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Phil Spector, the eccentric and revolutionary music producer who transformed rock music with his “Wall of Sound” method and who later was convicted of murder, has died. He was 81.\u003c/p>\n\u003cp>California state prison officials said he died Saturday of natural causes at a hospital.\u003c/p>\n\u003cp>Spector was convicted of murdering actress Lana Clarkson in 2003 at his castle-like mansion on the edge of Los Angeles. After a trial in 2009, he was sentenced to 19 years to life.\u003c/p>\n\u003cp>While most sources give Spector’s birth date as 1940, it was listed as 1939 in court documents following his arrest. His lawyer subsequently confirmed that date to The Associated Press.\u003c/p>\n\u003cp>Clarkson, star of “Barbarian Queen” and other B-movies, was found shot to death in the foyer of Spector’s mansion in the hills overlooking Alhambra, a modest suburban town on the edge of Los Angeles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Until the actress’ death, which Spector maintained was an “accidental suicide,” few residents even knew the mansion belonged to the reclusive producer, who spent his remaining years in a prison hospital east of Stockton.\u003c/p>\n\u003cp>Decades before, Spector had been hailed as a visionary for channeling Wagnerian ambition into the three-minute song, creating the “Wall of Sound” that merged spirited vocal harmonies with lavish orchestral arrangements to produce such pop monuments as “Da Doo Ron Ron,” “Be My Baby” and “He’s a Rebel.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13891395\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/e327f937-59cc-4649-8746-bbe788dce6be.jpg\" alt=\"\" width=\"689\" height=\"700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/e327f937-59cc-4649-8746-bbe788dce6be.jpg 689w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/e327f937-59cc-4649-8746-bbe788dce6be-160x163.jpg 160w\" sizes=\"(max-width: 689px) 100vw, 689px\">\u003c/p>\n\u003cp>He was the rare self-conscious artist in rock’s early years and cultivated an image of mystery and power with his dark shades and impassive expression.\u003c/p>\n\u003cp>Tom Wolfe declared him the “first tycoon of teen.” Bruce Springsteen and Brian Wilson openly replicated his grandiose recording techniques and wide-eyed romanticism, and John Lennon called him “the greatest record producer ever.”\u003c/p>\n\u003cp>The secret to his sound: an overdubbed onslaught of instruments, vocals and sound effects that changed the way pop records were recorded. He called the result, “Little symphonies for the kids.”\u003c/p>\n\u003cp>By his mid-20s his “little symphonies” had resulted in nearly two dozen hit singles and made him a millionaire. “You’ve Lost That Lovin’ Feeling,” the operatic Righteous Brothers ballad which topped the charts in 1965, has been tabulated as the song most played on radio and television — counting the many cover versions — in the 20th century.\u003c/p>\n\u003cp>But thanks in part to the arrival of the Beatles, his chart success would soon fade. When “River Deep-Mountain High,” an aptly-named 1966 release that featured Tina Turner, failed to catch on, Spector shut down his record label and withdrew from the business for three years. He would go on to produce the Beatles and Lennon among others, but he was now serving the artists, instead of the other way around.\u003c/p>\n\u003cp>In 1969, Spector was called in to salvage the Beatles’ “Let It Be” album, a troubled “back to basics” production marked by dissension within the band. Although Lennon praised Spector’s work, bandmate Paul McCartney was enraged, especially when Spector added strings and a choir to McCartney’s “The Long and Winding Road.” Years later, McCartney would oversee a remastered “Let it Be,” removing Spector’s contributions.\u003c/p>\n\u003cp>A documentary of the making of Lennon’s 1971 “Imagine” album showed the ex-Beatle clearly in charge, prodding Spector over a backing vocal, a line none of Spector’s early artists would have dared cross.\u003c/p>\n\u003cp>Spector worked on George Harrison’s acclaimed post-Beatles triple album, “All Things Must Pass,” co-produced Lennon’s “Imagine,” and the less successful “Some Time in New York City,” which included Spector’s picture over a caption that read, “To Know Him is to Love Him.”\u003c/p>\n\u003cp>Spector also had a memorable film role, a cameo as a drug dealer in “Easy Rider.” The producer himself was played by Al Pacino in a 2013 HBO movie.\u003c/p>\n\u003cp>The volume, and violence, of Spector’s music reflected a dark side he could barely contain even at his peak. He was imperious, temperamental and dangerous, remembered bitterly by Darlene Love, Ronnie Spector and others who worked with him.\u003c/p>\n\u003cp>Years of stories of his waving guns at recording artists in the studio and threatening women would come back to haunt him after Clarkson’s death.\u003c/p>\n\u003cp>According to witnesses she had agreed, somewhat reluctantly, to accompany him home from the Sunset Strip’s House of Blues in West Hollywood, where she worked Shortly after their arrival in Alhambra in the pre-dawn hours of Feb. 3, 2003, a chauffeur reported Spector came out of the house holding a gun, blood on his hands, and told him, “I think I killed somebody.”\u003c/p>\n\u003cp>He would later tell friends Clarkson had shot herself. The case was fraught with mystery, and it took authorities a year to file charges. In the meantime, Spector remained free on $1 million bail.\u003c/p>\n\u003cp>When he was finally indicted for murder, he lashed out at authorities, angrily telling reporters: “The actions of the Hitler-like DA and his storm trooper henchmen are reprehensible, unconscionable and despicable.”\u003c/p>\n\u003cp>As a defendant, his eccentricity took center stage. He would arrive in court for pretrial hearings in theatrical outfits, usually featuring high-heeled boots, frock coats and wildly styled wigs. He arrived at one hearing in a chauffeur-driven stretch Hummer.\u003c/p>\n\u003cp>Once the 2007 trial began, however, he toned down his attire. It ended in a 10-2 deadlock leaning toward conviction. His defense had argued that the actress, despondent about her fading career, shot herself through the mouth. A retrial got underway in October 2008.\u003c/p>\n\u003cfigure id=\"attachment_13891394\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891394\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/GettyImages-88399766-800x499.jpg\" alt=\"In this handout photo provided by the California Department of Corrections and Rehabilitation (CDCR), inmate Phillip Spector poses for his mugshot photo on June 5, 2009 at North Kern State Prison in Delano, California. \" width=\"800\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/GettyImages-88399766-800x499.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/GettyImages-88399766-1020x637.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/GettyImages-88399766-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/GettyImages-88399766-768x479.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/GettyImages-88399766.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In this handout photo provided by the California Department of Corrections and Rehabilitation (CDCR), inmate Phillip Spector poses for his mugshot photo on June 5, 2009 at North Kern State Prison in Delano, California. \u003ccite>(CDCR via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Harvey Phillip Spector, in his mid-60s when he was charged with murder, had been born on Dec. 26, 1939, in New York City’s borough of the Bronx. Bernard Spector, his father, was an ironworker. His mother, Bertha, was a seamstress. In 1947, Spector’s father committed suicide because of family indebtedness, an event that would shape his son’s life in many ways.\u003c/p>\n\u003cp>Four years later, Spector’s mother moved the family to Los Angeles, where Phil attended Fairfax High School, located in a largely Jewish neighborhood on the edge of Hollywood. For decades the school has been a source of future musical talent. At Fairfax, Spector performed in talent shows and formed a group called the Teddy Bears with friends.\u003c/p>\n\u003cp>He was reserved and insecure, but his musical abilities were obvious. He had perfect pitch and easily learned to play several instruments. He was just 17 when his group recorded its first hit single, a romantic ballad written and produced by Spector that would become a pop classic: “To Know Him is to Love Him,” was inspired by the inscription on his father’s tombstone.\u003c/p>\n\u003cp>A short, skinny kid with big dreams and growing demons, Spector went on to attend the University of California, Los Angeles for a year before dropping out to return to New York. He briefly considered becoming a French interpreter at the United Nations before falling in with the musicians at New York’s celebrated Brill Building. The Broadway edifice was then at the heart of popular music’s Tin Pan Alley, where writers, composers, singers and musicians turned out hit songs.\u003c/p>\n\u003cp>He began working with star composers Jerry Leiber and Mike Stoller, who had met at Fairfax High a few years before Spector arrived. Ultimately, he found his niche in producing. During this period he also co-wrote the hit song, “Spanish Harlem,” with Ben E. King, and played lead guitar on the Drifters’ “On Broadway.”\u003c/p>\n\u003cp>“I had come back to New York from California where there were all these green lawns and trees, and there was just this poverty and decay in Harlem,” he would recall later. “The song was an expression of hope and faith in the young people of Harlem … that there would be better times ahead.”\u003c/p>\n\u003cp>For a time he had his own production company, Philles Records, with partner Lester Silles, where he developed his signature sound. He assembled such respected studio musicians as arranger Jack Nitzsche, guitarist Tommy Tedesco, pianist Leon Russell and drummer Hal Blaine, and gave early breaks to Glen Campbell, Sonny Bono and Bono’s future wife, Cher.\u003c/p>\n\u003cp>In the early 1960s, he had hit after hit and one notable flop: the album “A Christmas Gift to You,” released, tragically, on Nov. 22, 1963, the day President Kennedy was assassinated, the worst possible time for such a joyous record. “A Christmas Gift,” featuring the Ronettes singing “Frosty the Snowman” and Love’s version of “White Christmas,” is now considered a classic and a perennial radio favorite during the holiday season.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-large wp-image-13891396\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/ccf21052010_00000-1020x981.jpg\" alt=\"\" width=\"640\" height=\"616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ccf21052010_00000-1020x981.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ccf21052010_00000-800x769.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ccf21052010_00000-160x154.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ccf21052010_00000-768x739.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/ccf21052010_00000.jpg 1386w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003cp>Spector’s domestic life, along with his career, eventually came apart. After his first marriage, to Annette Merar, broke up, Ronettes leader singer Ronnie Bennett became his girlfriend and muse. He married her in 1968 and they adopted three children. But she divorced him after six years, claiming in a memoir that he held her prisoner in their mansion, where she said he kept a gold coffin in the basement and told her he would kill her and put her in it if she ever tried to leave him.\u003c/p>\n\u003cp>When the Ronettes were inducted into the Rock and Roll Hall of Fame in 2007, Spector sent along his congratulations. But in an acceptance speech by his ex-wife, she never mentioned him while thanking numerous other people.\u003c/p>\n\u003cp>Darlene Love also feuded with him, accusing Spector of failing to credit her for her vocals on “He’s a Rebel” and other songs, but she did praise him when inducted into the Hall.\u003c/p>\n\u003cp>Spector himself became a Hall member in 1989. As his marriages deteriorated, recording artists also began to quit working with Spector and musical styles passed him by.\u003c/p>\n\u003cp>He preferred singles to albums, calling the latter, “Two hits and 10 pieces of junk.” He initially refused to record his music in multichannel stereo, claiming the process damaged the sound. A Spector box set retrospective was called “Back to Mono.”\u003c/p>\n\u003cp>By the mid-1970s, Spector had largely retreated from the music business. He would emerge occasionally to work on special projects, including Leonard Cohen’s album, “Death of a Ladies’ Man” and The Ramones’ “End of the Century.” Both were marred by reports of Spector’s instability.\u003c/p>\n\u003cp>In 1973, Lennon worked on an album of rock ‘n roll oldies with Spector, only to have Spector disappear with the tapes. The finished work, “Rock ‘n’ Roll,” didn’t come out until 1975.\u003c/p>\n\u003cp>In 1982 Spector married Janis Lynn Zavala and the couple had twins, Nicole and Phillip Jr. The boy died at age 10 of leukemia.\u003c/p>\n\u003cp>Six months before his first murder trial began, Spector married Rachelle Short, a 26-year-old singer and actress who accompanied him to court every day. He filed for divorce in 2016.\u003c/p>\n\u003cp>In a 2005 court deposition, he testified that he had been on medication for manic depression for eight years.\u003c/p>\n\u003cp>“No sleep, depression, mood changes, mood swings, hard to live with, hard to concentrate, just hard — a hard time getting through life,” he said. “I’ve been called a genius and I think a genius is not there all the time and has borderline insanity.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Linda Deutsch is a retired special correspondent for The Associated Press. The Spector murder trial was one of many sensational cases she covered during her 48-year career as a Los Angeles-based trial reporter.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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},
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"id": "baycurious",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"meta": {
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"source": "WNYC"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
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