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"title": "‘The First Angry Man’ Assesses Legacy of Prop. 13 Firebrand Howard Jarvis",
"headTitle": "‘The First Angry Man’ Assesses Legacy of Prop. 13 Firebrand Howard Jarvis | KQED",
"content": "\u003cp>California’s adoption of “The Golden State” as our official nickname in 1968 invoked the Gold Rush’s promise of riches and the gleaming achievement of the Golden Gate Bridge. For many, it also referred to the gold standard of best-in-nation schools and highways. California was No. 1 with a bullet, in the jargon of the pop charts of the day.\u003c/p>\n\u003cp>Fast forward 40 years to 2008, and the luster was gone. How we got there, and here, is recounted in Jason Cohn’s fascinating and insightful documentary, \u003cem>\u003ca href=\"https://firstangryman.com/\" rel=\"noopener noreferrer\" target=\"_blank\">The First Angry Man\u003c/a>\u003c/em>. The film airs at 8pm tonight on KQED and 3pm Monday, Oct. 19 on KQED Plus.\u003c/p>\n\u003cp>“We were starting a family in Berkeley around the time when California was in financial free-fall, and the media was talking about California as a failed state,” Cohn recalls. “Meg Whitman was running for governor literally talking about the possibility of filing for bankruptcy. We couldn’t pay our bills, we were furloughing workers, schools had been cut and then cut more. It was clear to me that it wasn’t the kind of problem that could be solved by tightening our belts further.”\u003c/p>\n\u003cp>The schools were broken and infrastructure was falling apart. There was a ton of debate, with most everyone citing Prop. 13 as a central, unalterable factor. \u003c/p>\n\u003cp>“I felt like the conversation ended there,” Cohn says. “And everybody knew what they knew about Prop. 13, which was frankly not very much. It was this thing that had happened 30 years ago and it had cut property taxes. Depending on your ideological starting point, it was the reason you or your parents were able to keep their house or the reason California was in such dire financial circumstances.”\u003c/p>\n\u003cfigure id=\"attachment_13888087\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/fam_jarvis03_1_0-800x520.png\" alt=\"Anti-tax crusader Howard Jarvis is the subject of a new documentary, 'The First Angry Man.'\" width=\"800\" height=\"520\" class=\"size-medium wp-image-13888087\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_jarvis03_1_0-800x520.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_jarvis03_1_0-1020x663.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_jarvis03_1_0-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_jarvis03_1_0-768x499.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_jarvis03_1_0-1536x999.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_jarvis03_1_0.png 1658w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anti-tax crusader Howard Jarvis is the subject of a new documentary, ‘The First Angry Man.’ \u003ccite>(KCET)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Curious about the dearth of actual information about Proposition 13 and its architect and champion, Cohn tracked down a copy of \u003cem>I’m Mad as Hell\u003c/em>, the ghostwritten, self-mythologizing autobiography of Prop. 13 salesman Howard Jarvis. The proposition itself, approved by voters in 1978, amended the state constitution to cap—and effectively reduce—property taxes.\u003c/p>\n\u003cp>“I thought I would make a cheap kind of DIY [film], my wife [producer Camille Servan-Schrieber] and I do all of the work, do all the shooting and all the editing, just do it on the cheap, maybe on credit cards, just on the California problem,” Cohn explains. “Then I read how scholars view it, as a watershed moment that divided two completely different eras in terms of how people think about the role of government. It’s much bigger than taxes, it’s much bigger than California.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The first era spans the New Deal, the Great Society and the War on Poverty, when government claimed a mandate to create opportunity and raise people up. That ended with the Reagan era, a period when, as the former California governor put it, government is seen as the problem and not the solution.\u003c/p>\n\u003cp>“We continue to be in this era,” Cohn says, “where there’s a very limited view of what government can do to create economic equality, to limit the savage effects of capitalism, the tendency of capitalism to create massive disparities between the super-rich and everybody else, and it all started here in California in 1978 with this rather limited issue that on its surface didn’t seem like it would be that big. But its impacts, its consequences have been almost immeasurable.”\u003c/p>\n\u003cp>Prop. 13 fever, as it was called, became a national phenomenon. It particularly infected states with an initiative system, but if it could happen in a liberal state like California, it could—and did—happen anywhere.\u003c/p>\n\u003cfigure id=\"attachment_13888086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/fam_jarvis01_0-800x450.png\" alt=\"Anti-tax crusader Howard Jarvis is the subject of a new documentary, 'The First Angry Man.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13888086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_jarvis01_0-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_jarvis01_0-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_jarvis01_0-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_jarvis01_0-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_jarvis01_0-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_jarvis01_0.png 1916w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anti-tax crusader Howard Jarvis is the subject of a new documentary, ‘The First Angry Man.’ \u003ccite>(KCET)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once Cohn saw archival footage of Howard Jarvis, an unvarnished, seemingly unsophisticated septuagenarian who loved debating, who cheerfully insulted his opponents and played loose with the truth in the service of telling a story with an emotional hook, he realized he had a main character that would hold an audience. (If Jarvis, who died in 1986, sounds a bit Trumpian, check out \u003cem>The First Angry Man\u003c/em>.)\u003c/p>\n\u003cp>The film also has a solid supporting character in Jerry Brown. The governor declined Cohn’s requests for an interview, though he is colorfully represented via period news footage as a smart politician who nonetheless underestimated Jarvis’ populist appeal and strategic chops.\u003c/p>\n\u003cp>While the happy “winners” of Prop. 13’s tax cuts are amply depicted in \u003cem>The First Angry Man\u003c/em>, the losers are represented by the University of California system.\u003c/p>\n\u003cp>“This was a big struggle for us in telling the story because we wanted to show what the consequences of disinvestment in the public sphere have been, and the public sphere is very, very large,” Cohn explains. “You have the option of trying to do a survey: Show potholes in streets and talk to police about being understaffed and show our aging water infrastructure. We could talk about forest management and how we’re making ourselves vulnerable to fires. If you tried to talk about all of them, it would just go on forever and have no focus.”\u003c/p>\n\u003cfigure id=\"attachment_13888085\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/fam_gray_davis_0-800x450.png\" alt=\"Former California governor Gray Davis, who was recalled by voters, in 'The First Angry Man.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13888085\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_gray_davis_0-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_gray_davis_0-1020x573.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_gray_davis_0-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_gray_davis_0-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_gray_davis_0-1536x863.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_gray_davis_0.png 1916w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former California governor Gray Davis, who was recalled by voters, in ‘The First Angry Man.’ \u003ccite>(KCET)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Galvanized by the state’s ongoing cuts to its contribution to public higher education, Cohn and Servan-Schrieber honed in on the far-reaching effects. \u003c/p>\n\u003cp>“In 1978 when Prop. 13 passed, student debt in California was somewhere in the general vicinity of zero dollars,” Cohn notes. “I think it’s $1.5 trillion nationally now. That is a travesty, and a shadow on the economy and a tremendous burden to put on young people and their families. Everyone is affected by this.”\u003c/p>\n\u003cp>In addition to illuminating the lamentable effects of Prop. 13 that, in fact, many people anticipated, the UC section has a second, important function: It pulls \u003cem>The First Angry Man\u003c/em> into the present.\u003c/p>\n\u003cp>“Camille, senior producer Stephen Talbot and I do tend to work in the history realm as documentary filmmakers a lot. One reason we love it is because you’re not chasing your tail all the time: ‘Oh, this just happened and we have to run out and film that,’ because your story’s changing day by day. When you’re doing a history film, you can almost write your script before you start shooting. That said, what’s the point in doing a history film that has no relevance to the current day? If it doesn’t tell you something about the world we live in now, there’s no point in watching it, and there’s no point in making a film that nobody wants to watch.”\u003c/p>\n\u003cp>[aside label=\"From KQED's California Voter Guide\" link1='https://www.kqed.org/voterguide/proposition-15-business-property-taxes,Proposition 15: Should taxes on commercial and industrial property be raised to generate billions of dollars a year for schools and local government services?' hero=https://ww2.kqed.org/app/uploads/2020/10/KQED-Election-2020-Aside-Prop-15.png]\u003c/p>\n\u003cp>So it’s fortuitous, if not prescient, that the filmmakers incorporated race as a theme. Without suggesting that voters for Prop. 13 were racist—although Jarvis wasn’t shy about using dog whistles to rouse his supporters’ enthusiasm—\u003cem>The First Angry Man\u003c/em> notes the growing disapproval for government’s mission to affect change by promoting racial equality through affirmative action and fair housing policy. People who are angry at the government are angry about paying taxes.\u003c/p>\n\u003cp>Cohn’s decision to incorporate the role that race played in how people viewed taxation and government in the late 1970s has been vindicated by the events of the last couple years, which exposed the extent to which racial justice and economic justice are meted out unevenly in the United States.\u003c/p>\n\u003cp>“I feel very bad about what’s happened, but it shows that we were telling the right story,” he says.\u003c/p>\n\u003cp>\u003cem>The First Angry Man\u003c/em> doesn’t propose solutions to the problems that stemmed from Prop. 13. It does note that just as California was ahead of the country in anti-tax fervor, we may now be leading the curve to adopt more rational positions about government and taxes. If so, more of what glitters in California will be gold.\u003c/p>\n\u003cp>“We did pass Prop. 30, which was a self-inflicted tax,” Cohn says, referring to the 2012 vote that raised income and sales taxes to pay for schools. “It’s \u003cem>very\u003c/em> unusual in the history of America for voters to beg the government to tax them more. And it passed by a very significant margin.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Jason Cohn unearths the colorful saga of the infamous 1978 proposition, one of the first anti-tax measures in the United States.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>California’s adoption of “The Golden State” as our official nickname in 1968 invoked the Gold Rush’s promise of riches and the gleaming achievement of the Golden Gate Bridge. For many, it also referred to the gold standard of best-in-nation schools and highways. California was No. 1 with a bullet, in the jargon of the pop charts of the day.\u003c/p>\n\u003cp>Fast forward 40 years to 2008, and the luster was gone. How we got there, and here, is recounted in Jason Cohn’s fascinating and insightful documentary, \u003cem>\u003ca href=\"https://firstangryman.com/\" rel=\"noopener noreferrer\" target=\"_blank\">The First Angry Man\u003c/a>\u003c/em>. The film airs at 8pm tonight on KQED and 3pm Monday, Oct. 19 on KQED Plus.\u003c/p>\n\u003cp>“We were starting a family in Berkeley around the time when California was in financial free-fall, and the media was talking about California as a failed state,” Cohn recalls. “Meg Whitman was running for governor literally talking about the possibility of filing for bankruptcy. We couldn’t pay our bills, we were furloughing workers, schools had been cut and then cut more. It was clear to me that it wasn’t the kind of problem that could be solved by tightening our belts further.”\u003c/p>\n\u003cp>The schools were broken and infrastructure was falling apart. There was a ton of debate, with most everyone citing Prop. 13 as a central, unalterable factor. \u003c/p>\n\u003cp>“I felt like the conversation ended there,” Cohn says. “And everybody knew what they knew about Prop. 13, which was frankly not very much. It was this thing that had happened 30 years ago and it had cut property taxes. Depending on your ideological starting point, it was the reason you or your parents were able to keep their house or the reason California was in such dire financial circumstances.”\u003c/p>\n\u003cfigure id=\"attachment_13888087\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/fam_jarvis03_1_0-800x520.png\" alt=\"Anti-tax crusader Howard Jarvis is the subject of a new documentary, 'The First Angry Man.'\" width=\"800\" height=\"520\" class=\"size-medium wp-image-13888087\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_jarvis03_1_0-800x520.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_jarvis03_1_0-1020x663.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_jarvis03_1_0-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_jarvis03_1_0-768x499.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_jarvis03_1_0-1536x999.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_jarvis03_1_0.png 1658w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anti-tax crusader Howard Jarvis is the subject of a new documentary, ‘The First Angry Man.’ \u003ccite>(KCET)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Curious about the dearth of actual information about Proposition 13 and its architect and champion, Cohn tracked down a copy of \u003cem>I’m Mad as Hell\u003c/em>, the ghostwritten, self-mythologizing autobiography of Prop. 13 salesman Howard Jarvis. The proposition itself, approved by voters in 1978, amended the state constitution to cap—and effectively reduce—property taxes.\u003c/p>\n\u003cp>“I thought I would make a cheap kind of DIY [film], my wife [producer Camille Servan-Schrieber] and I do all of the work, do all the shooting and all the editing, just do it on the cheap, maybe on credit cards, just on the California problem,” Cohn explains. “Then I read how scholars view it, as a watershed moment that divided two completely different eras in terms of how people think about the role of government. It’s much bigger than taxes, it’s much bigger than California.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The first era spans the New Deal, the Great Society and the War on Poverty, when government claimed a mandate to create opportunity and raise people up. That ended with the Reagan era, a period when, as the former California governor put it, government is seen as the problem and not the solution.\u003c/p>\n\u003cp>“We continue to be in this era,” Cohn says, “where there’s a very limited view of what government can do to create economic equality, to limit the savage effects of capitalism, the tendency of capitalism to create massive disparities between the super-rich and everybody else, and it all started here in California in 1978 with this rather limited issue that on its surface didn’t seem like it would be that big. But its impacts, its consequences have been almost immeasurable.”\u003c/p>\n\u003cp>Prop. 13 fever, as it was called, became a national phenomenon. It particularly infected states with an initiative system, but if it could happen in a liberal state like California, it could—and did—happen anywhere.\u003c/p>\n\u003cfigure id=\"attachment_13888086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/fam_jarvis01_0-800x450.png\" alt=\"Anti-tax crusader Howard Jarvis is the subject of a new documentary, 'The First Angry Man.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13888086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_jarvis01_0-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_jarvis01_0-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_jarvis01_0-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_jarvis01_0-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_jarvis01_0-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_jarvis01_0.png 1916w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anti-tax crusader Howard Jarvis is the subject of a new documentary, ‘The First Angry Man.’ \u003ccite>(KCET)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once Cohn saw archival footage of Howard Jarvis, an unvarnished, seemingly unsophisticated septuagenarian who loved debating, who cheerfully insulted his opponents and played loose with the truth in the service of telling a story with an emotional hook, he realized he had a main character that would hold an audience. (If Jarvis, who died in 1986, sounds a bit Trumpian, check out \u003cem>The First Angry Man\u003c/em>.)\u003c/p>\n\u003cp>The film also has a solid supporting character in Jerry Brown. The governor declined Cohn’s requests for an interview, though he is colorfully represented via period news footage as a smart politician who nonetheless underestimated Jarvis’ populist appeal and strategic chops.\u003c/p>\n\u003cp>While the happy “winners” of Prop. 13’s tax cuts are amply depicted in \u003cem>The First Angry Man\u003c/em>, the losers are represented by the University of California system.\u003c/p>\n\u003cp>“This was a big struggle for us in telling the story because we wanted to show what the consequences of disinvestment in the public sphere have been, and the public sphere is very, very large,” Cohn explains. “You have the option of trying to do a survey: Show potholes in streets and talk to police about being understaffed and show our aging water infrastructure. We could talk about forest management and how we’re making ourselves vulnerable to fires. If you tried to talk about all of them, it would just go on forever and have no focus.”\u003c/p>\n\u003cfigure id=\"attachment_13888085\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/fam_gray_davis_0-800x450.png\" alt=\"Former California governor Gray Davis, who was recalled by voters, in 'The First Angry Man.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13888085\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_gray_davis_0-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_gray_davis_0-1020x573.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_gray_davis_0-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_gray_davis_0-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_gray_davis_0-1536x863.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/fam_gray_davis_0.png 1916w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former California governor Gray Davis, who was recalled by voters, in ‘The First Angry Man.’ \u003ccite>(KCET)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Galvanized by the state’s ongoing cuts to its contribution to public higher education, Cohn and Servan-Schrieber honed in on the far-reaching effects. \u003c/p>\n\u003cp>“In 1978 when Prop. 13 passed, student debt in California was somewhere in the general vicinity of zero dollars,” Cohn notes. “I think it’s $1.5 trillion nationally now. That is a travesty, and a shadow on the economy and a tremendous burden to put on young people and their families. Everyone is affected by this.”\u003c/p>\n\u003cp>In addition to illuminating the lamentable effects of Prop. 13 that, in fact, many people anticipated, the UC section has a second, important function: It pulls \u003cem>The First Angry Man\u003c/em> into the present.\u003c/p>\n\u003cp>“Camille, senior producer Stephen Talbot and I do tend to work in the history realm as documentary filmmakers a lot. One reason we love it is because you’re not chasing your tail all the time: ‘Oh, this just happened and we have to run out and film that,’ because your story’s changing day by day. When you’re doing a history film, you can almost write your script before you start shooting. That said, what’s the point in doing a history film that has no relevance to the current day? If it doesn’t tell you something about the world we live in now, there’s no point in watching it, and there’s no point in making a film that nobody wants to watch.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So it’s fortuitous, if not prescient, that the filmmakers incorporated race as a theme. Without suggesting that voters for Prop. 13 were racist—although Jarvis wasn’t shy about using dog whistles to rouse his supporters’ enthusiasm—\u003cem>The First Angry Man\u003c/em> notes the growing disapproval for government’s mission to affect change by promoting racial equality through affirmative action and fair housing policy. People who are angry at the government are angry about paying taxes.\u003c/p>\n\u003cp>Cohn’s decision to incorporate the role that race played in how people viewed taxation and government in the late 1970s has been vindicated by the events of the last couple years, which exposed the extent to which racial justice and economic justice are meted out unevenly in the United States.\u003c/p>\n\u003cp>“I feel very bad about what’s happened, but it shows that we were telling the right story,” he says.\u003c/p>\n\u003cp>\u003cem>The First Angry Man\u003c/em> doesn’t propose solutions to the problems that stemmed from Prop. 13. It does note that just as California was ahead of the country in anti-tax fervor, we may now be leading the curve to adopt more rational positions about government and taxes. If so, more of what glitters in California will be gold.\u003c/p>\n\u003cp>“We did pass Prop. 30, which was a self-inflicted tax,” Cohn says, referring to the 2012 vote that raised income and sales taxes to pay for schools. “It’s \u003cem>very\u003c/em> unusual in the history of America for voters to beg the government to tax them more. And it passed by a very significant margin.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "after-city-wide-kidnap-drama-maki-the-ring-tailed-lemur-is-home-at-the-zoo",
"title": "After City-Wide Kidnap Drama, Maki the Ring-Tailed Lemur is Home at the Zoo",
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"headTitle": "After City-Wide Kidnap Drama, Maki the Ring-Tailed Lemur is Home at the Zoo | KQED",
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"content": "\u003cp>It all started on Wednesday afternoon, when it was announced that a ring-tailed lemur named Maki had been stolen from the Lipman Family Lemur Forest at San Francisco Zoo by unknown intruders. Police, eager to get him home safely, quickly asked the public for help.\u003c/p>\n\u003cp>https://twitter.com/SFPD/status/1316517038328672256\u003c/p>\n\u003cp>Details trickled out slowly: Maki is 21, was born in the zoo and has at least one child. He has cute little white ears, chestnut eyes, and a squiffy little face. Police believe he was singled out from the other lemurs because he was “\u003ca href=\"https://twitter.com/NBCian/status/1316610404211027968\" target=\"_blank\" rel=\"noopener noreferrer\">the slowest of the troop\u003c/a>” and therefore, the “\u003ca href=\"https://sanfrancisco.cbslocal.com/2020/10/15/update-san-francisco-zoo-offers-reward-stolen-lemur-maki-sfpd/\" target=\"_blank\" rel=\"noopener noreferrer\">easiest to capture\u003c/a>.” (You \u003cem>have\u003c/em> to start working out, Maki!)\u003c/p>\n\u003cp>https://twitter.com/emmaruthless/status/1316915105171447809\u003c/p>\n\u003cp>On Twitter, a \u003ca href=\"https://twitter.com/SFZooLemur\" target=\"_blank\" rel=\"noopener noreferrer\">dedicated Maki account\u003c/a> quickly popped up. Elsewhere on social media, rumors and conjecture started to circulate in earnest. Maki was \u003ca href=\"https://twitter.com/thmrit51/status/1316629781732118528\" target=\"_blank\" rel=\"noopener noreferrer\">drinking at a bar\u003c/a>, he was \u003ca href=\"https://twitter.com/periodpieces16/status/1316614829289795591\" target=\"_blank\" rel=\"noopener noreferrer\">for sale\u003c/a>, he was “\u003ca href=\"https://twitter.com/mikeagbeniyisr/status/1316651835696930816\" target=\"_blank\" rel=\"noopener noreferrer\">tired of lockdown\u003c/a>.” One person even accused him of \u003ca href=\"https://twitter.com/UCame2CaShow/status/1316556036610953216\" target=\"_blank\" rel=\"noopener noreferrer\">being a monkey\u003c/a>. (\u003cem>The nerve!\u003c/em>) One conspiracy theorist suggested it had been \u003ca href=\"https://twitter.com/bujheekom/status/1316543087435567106\" target=\"_blank\" rel=\"noopener noreferrer\">an inside job\u003c/a>. “Check every staff’s house, closet, garage, strt w zoo keeper,” \u003ca href=\"https://twitter.com/bujheekom\" target=\"_blank\" rel=\"noopener noreferrer\">@bujheekom\u003c/a> implored.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Emotions ran high as animal lovers across the city willed Maki’s safe return.\u003c/p>\n\u003cp>https://twitter.com/ksimerly/status/1316957469436989440\u003c/p>\n\u003cp>Others tried to discourage the thieves from keeping Maki by shaming them, cursing humanity, and offering practical information about lemurs being “stinky.”\u003c/p>\n\u003cp>https://twitter.com/colazioneAroma/status/1316946507057287168\u003c/p>\n\u003cp>Twenty-four hours into the search for Maki, the San Francisco Zoo offered a $2,100 reward for the safe return of their lemur, along with a photo of his tiny food-covered face being totes adorbs.\u003c/p>\n\u003cp>https://twitter.com/sfzoo/status/1316848485333827584\u003c/p>\n\u003cp>Zoos as far-flung as Wichita, Kansas felt San Francisco Zoo’s pain and sent best wishes:\u003c/p>\n\u003cp>https://twitter.com/SedgwickCoZoo/status/1316854077020663812\u003c/p>\n\u003cp>Then finally, on Thursday afternoon, the news we had all been waiting for! Sam Trinh \u003ca href=\"https://twitter.com/TrinnerChknDnnr/status/1316950320996638720\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a> that his wife and 5-year-old son James had spotted Maki as they left the day care center at Hope Lutheran Church in Daly City, at around 5pm.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13888059 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/Screen-Shot-2020-10-16-at-12.03.19-AM.png\" alt=\"\" width=\"604\" height=\"682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-16-at-12.03.19-AM.png 604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-16-at-12.03.19-AM-160x181.png 160w\" sizes=\"(max-width: 604px) 100vw, 604px\">\u003c/p>\n\u003cp>The news was quickly confirmed by the church’s pastor (the first trans pastor to be ordained in the Lutheran church, no less!), Rev. Megan Rohrer.\u003c/p>\n\u003cp>https://twitter.com/mmrohrer/status/1316986664514809861\u003c/p>\n\u003cp>Maki went quietly, judging by this footage:\u003c/p>\n\u003cp>https://twitter.com/NBCian/status/1316955554712068099\u003c/p>\n\u003cp>The Daly City police were evidently pleased with their collar.\u003c/p>\n\u003cp>https://twitter.com/DalyCityPD/status/1316940964552998914\u003c/p>\n\u003cp>Maki is now back in the zoo, resting his slow, stripy butt after his big adventure. No word yet on any at-large suspects, or where that reward is going, but \u003ca href=\"https://twitter.com/cristella100/status/1316953270900895745\" target=\"_blank\" rel=\"noopener noreferrer\">some folks\u003c/a> are suggesting it should go to 5-year-old hero James Trinh.\u003c/p>\n\u003cp>For more on the weird stuff that ring-tailed lemurs get up to when they’re not on the run, here’s a handy video.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jcjDrE1ye-E\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Go back to sheltering in place, Maki!\u003c/p>\n\n",
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"excerpt": "San Francisco Zoo lost the male lemur in a burglary this week, causing a wave of emotional turmoil across the city. ",
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"title": "After City-Wide Kidnap Drama, Maki the Ring-Tailed Lemur is Home at the Zoo | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It all started on Wednesday afternoon, when it was announced that a ring-tailed lemur named Maki had been stolen from the Lipman Family Lemur Forest at San Francisco Zoo by unknown intruders. Police, eager to get him home safely, quickly asked the public for help.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Details trickled out slowly: Maki is 21, was born in the zoo and has at least one child. He has cute little white ears, chestnut eyes, and a squiffy little face. Police believe he was singled out from the other lemurs because he was “\u003ca href=\"https://twitter.com/NBCian/status/1316610404211027968\" target=\"_blank\" rel=\"noopener noreferrer\">the slowest of the troop\u003c/a>” and therefore, the “\u003ca href=\"https://sanfrancisco.cbslocal.com/2020/10/15/update-san-francisco-zoo-offers-reward-stolen-lemur-maki-sfpd/\" target=\"_blank\" rel=\"noopener noreferrer\">easiest to capture\u003c/a>.” (You \u003cem>have\u003c/em> to start working out, Maki!)\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>On Twitter, a \u003ca href=\"https://twitter.com/SFZooLemur\" target=\"_blank\" rel=\"noopener noreferrer\">dedicated Maki account\u003c/a> quickly popped up. Elsewhere on social media, rumors and conjecture started to circulate in earnest. Maki was \u003ca href=\"https://twitter.com/thmrit51/status/1316629781732118528\" target=\"_blank\" rel=\"noopener noreferrer\">drinking at a bar\u003c/a>, he was \u003ca href=\"https://twitter.com/periodpieces16/status/1316614829289795591\" target=\"_blank\" rel=\"noopener noreferrer\">for sale\u003c/a>, he was “\u003ca href=\"https://twitter.com/mikeagbeniyisr/status/1316651835696930816\" target=\"_blank\" rel=\"noopener noreferrer\">tired of lockdown\u003c/a>.” One person even accused him of \u003ca href=\"https://twitter.com/UCame2CaShow/status/1316556036610953216\" target=\"_blank\" rel=\"noopener noreferrer\">being a monkey\u003c/a>. (\u003cem>The nerve!\u003c/em>) One conspiracy theorist suggested it had been \u003ca href=\"https://twitter.com/bujheekom/status/1316543087435567106\" target=\"_blank\" rel=\"noopener noreferrer\">an inside job\u003c/a>. “Check every staff’s house, closet, garage, strt w zoo keeper,” \u003ca href=\"https://twitter.com/bujheekom\" target=\"_blank\" rel=\"noopener noreferrer\">@bujheekom\u003c/a> implored.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Emotions ran high as animal lovers across the city willed Maki’s safe return.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Others tried to discourage the thieves from keeping Maki by shaming them, cursing humanity, and offering practical information about lemurs being “stinky.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Twenty-four hours into the search for Maki, the San Francisco Zoo offered a $2,100 reward for the safe return of their lemur, along with a photo of his tiny food-covered face being totes adorbs.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Zoos as far-flung as Wichita, Kansas felt San Francisco Zoo’s pain and sent best wishes:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Then finally, on Thursday afternoon, the news we had all been waiting for! Sam Trinh \u003ca href=\"https://twitter.com/TrinnerChknDnnr/status/1316950320996638720\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a> that his wife and 5-year-old son James had spotted Maki as they left the day care center at Hope Lutheran Church in Daly City, at around 5pm.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13888059 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/Screen-Shot-2020-10-16-at-12.03.19-AM.png\" alt=\"\" width=\"604\" height=\"682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-16-at-12.03.19-AM.png 604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-16-at-12.03.19-AM-160x181.png 160w\" sizes=\"(max-width: 604px) 100vw, 604px\">\u003c/p>\n\u003cp>The news was quickly confirmed by the church’s pastor (the first trans pastor to be ordained in the Lutheran church, no less!), Rev. Megan Rohrer.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Maki went quietly, judging by this footage:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The Daly City police were evidently pleased with their collar.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Maki is now back in the zoo, resting his slow, stripy butt after his big adventure. No word yet on any at-large suspects, or where that reward is going, but \u003ca href=\"https://twitter.com/cristella100/status/1316953270900895745\" target=\"_blank\" rel=\"noopener noreferrer\">some folks\u003c/a> are suggesting it should go to 5-year-old hero James Trinh.\u003c/p>\n\u003cp>For more on the weird stuff that ring-tailed lemurs get up to when they’re not on the run, here’s a handy video.\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/jcjDrE1ye-E'\n title='//www.youtube.com/embed/jcjDrE1ye-E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>Go back to sheltering in place, Maki!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "whats-on-your-ballot-reem-assil-of-reems-california-bakery",
"title": "What's On Your Ballot?: Reem Assil of Reem’s California Bakery",
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"headTitle": "What’s On Your Ballot?: Reem Assil of Reem’s California Bakery | KQED",
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"content": "\u003cp>\u003ci>In 2020, the United States faces an election like no other. Citizens will vote in the midst of a global pandemic, severe climate change, an uprising for racial justice and an administration that has eroded the norms of democracy. In ‘\u003ca href=\"https://www.kqed.org/whats-on-your-ballot\" target=\"_blank\" rel=\"noopener noreferrer\">What’s on Your Ballot\u003c/a>,’ KQED checks in with ten different artists, activists and cultural figures about the issues on their minds and their hopes for the country.\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">R\u003c/span>eem Assil opened Reem’s California in 2017, inspired by Arab street corner bakeries and the vibrant communities surrounding them. The Palestinian-Syrian chef descirbes Reem’s as “a place where Arabs could feel celebrated and proud” during a post-9/11 world in which many Arab communities were threatened, attacked, and forced to hide their identities as Mediterranean or Greek. The bakery was also created to serve as a space for the social justice community where people could meet, strategize, and enjoy a good meal. Says Assil, “You come from Reem’s, you come from the whole movement.” \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Prior to founding Reem’s, Assil was engaged in political activism and community organizing for many years. She worked for a decade as a labor and community organizer at SEIU Local 1877 and East Bay Alliance for a Sustainable Economy (EBASE), where she fought for the dignity and equality of workers in the Bay Area. In the face of the pandemic, Assil has transformed Reem’s Oakland location into a kitchen that currently feeds more than 10,000 people in need every month, and hopes to transition the bakery into a worker owned cooperative.\u003cem>—Sam K. Lew\u003c/em> \u003c/span>[aside label=\"From KQED's California Voter Guide\" link1='https://www.kqed.org/voterguide/,All the State Props, All the Bay Area Measures' hero=https://ww2.kqed.org/app/uploads/2020/10/KQED-Election-2020-Aside-CA-Voter-Guide.png]\u003c/p>\n\u003cp>\u003cb>As we head into the election, what do you make of the political climate in America today?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s a climate that is very polarized. I worry about that because there is a whole generation, particularly a younger generation, that is really galvanized but has no institutions to plug into. What happens when you have a group of people who are galvanized but not organized? Because of COVID, folks are stuck in front of social media and that becomes their only way to relate to the world, which doesn’t necessarily affect the change that we want. However, I do think there are communities on the very local level who are doing a good job of creating institutions that are protecting their own. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>As a Bay Area chef and restaurant owner, what is the importance of the food industry in this current moment? \u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The one thing that I’ve really tried to push on my fellow chefs, especially to those who are business owners, is that it’s not about the business owner right now, although certainly we’ve been impacted. It’s about the communities that we live in and our workers and this economy that is crumbling. While I would appreciate government assistance, I would rather see policies that will lift all of us up. Sometimes, I feel like the advocacy is more narrow-minded on a national level about what it would take to save restaurants.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13887183\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/D7A9831.jpg\" alt=\"Reem Assil prepares meals for The Unity Council to distribute to those in need of food. The Unity Council is a non-profit organization that provides assistance for low-income children, families and immigrants.\" width=\"800\" height=\"533\" class=\"size-full wp-image-13887183\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9831.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9831-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9831-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reem Assil and Karl Greene prepare meals for The Unity Council to distribute to those in need of food. The Unity Council is a non-profit organization that provides assistance for low-income children, families and immigrants. \u003ccite>(Estefany Gonzalez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">There is a tremendous opportunity to redefine restaurants’ role in our communities as economic engines, as political stakeholders, as teachers, as organizers. Why not use this moment to organize folks in the workplace? Business owners may be afraid of doing that, but we have to give something up to make this work. Reem’s is transitioning to a worker ownership, shared-governance structure. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Even before we talked about making Reem’s into a co-op, we had always built a model around employing people with the most barriers: hiring people of color, formerly incarcerated folks, and undocumented people—especially when the refugee population surged. It’s a place where people who were overlooked get a chance and get paid well. Our wages were higher than the living wage, and we didn’t create the same hierarchies of the food world. Whether you were the dishwasher or the line cook, Reem’s was about providing a place of refuge. \u003c/span>\u003c/p>\n\u003cp>\u003cb>You’ve been engaged in political activism throughout many elections, including during the Bush administration. What keeps you going, in spite of burnout or cynicism? \u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’ve been part of political campaigns where we’ve seen the changes. I’ve seen the power of good old-fashioned door knocking. The act of talking to my fellow citizens is honestly the more transformative piece of the work than the actual outcome of the campaign. I’ve been part of campaigns where we’ve won and ones that we haven’t won, but it was still powerful because you build relationships with your community and you get clearer about what moves us into a better future. It’s really about the face-to-face organizing and strategizing. It’s lovely to win, too. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13887177\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/D7A9796.jpg\" alt=\"Restaurant owner Reem Assil sits in front of Reem’s California in Oakland on Sept. 29, 2020. Assil closed the restaurant's Fruitvale location to the public and now uses it to provide food for vulnerable communities affected by the 2020 global pandemic. \" width=\"800\" height=\"533\" class=\"size-full wp-image-13887177\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9796.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9796-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9796-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Restaurant owner Reem Assil sits in front of Reem’s California in Oakland on Sept. 29, 2020. Assil closed the restaurant’s Fruitvale location to the public and now uses it to provide food for vulnerable communities affected by the 2020 global pandemic. \u003ccite>(Estefany Gonzalez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Electoral work is just one tool in our toolkit as we fight for a more just and equitable world. What are some other tools that we can use during and beyond the election?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We should be taking care of one another. One of the most inspiring things of this moment is the mutual aid efforts that have popped up. We can’t really start a movement unless we get our basic needs met. It’s hard to tell people who have four jobs and who don’t have healthcare to go out and vote. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At Reem’s, we’ve been partnering with SF New Deal and the World Central Kitchen to provide meals to people who need it. We make about 10,000 meals a month. We’re working with the Arab Resource and Organizing Center and the Palestinian Youth Movement to get meals to low-income Arab families. Restaurants could be feeding people and benefitting from it if we were subsidized by the government. Can you imagine if restaurants had structures to do this? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Your work lies at the intersections of borders, nations, people—it is deeply international. What does this look like for you in the face of the election while engaging in local work? \u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Particularly around food sovereignty, my work has always been internationalist. I’m an extension of the diaspora and of home. As a Palestian and as a Syrian, I try to keep the narrative of my people front and center. That’s important for their fight: to be seen and not to be invisibilized. I know the more I can connect the local with the foreign, the more success we’ll have. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13887178\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/D7A9808.jpg\" alt=\"Restaurant owner Reem Assil at Reem’s California in Oakland on Sept. 29, 2020.\" width=\"800\" height=\"533\" class=\"size-full wp-image-13887178\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9808.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9808-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9808-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Restaurant owner Reem Assil at Reem’s California in Oakland on Sept. 29, 2020. \u003ccite>(Estefany Gonzalez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The reality is that on the foreign policy level, the militarization of the U.S. is not going to change with the Democratic party. If you think about the Obama regime, his immigration policy was horrible, Guantanamo didn’t get closed down, the troops were still abroad. The system is much bigger than who is in the seat of the president. But some things do change when people in power are pressured. I think about Apartheid South Africa when we decided to engage in the boycott. That was the result of organizing that impacted foreign policy. So we have to keep that pressure until—as we say in organizing—the person in power will move on something because it’s too expensive for them not to. \u003c/span>\u003c/p>\n\u003cp>\u003cb>After the election—no matter how it goes—what are your hopes and goals for the country, and for the Bay Area?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I hope that we can use the situation to politicize folks and help them understand why it’s important to build. No matter who wins, I hope this moment galvanizes people to do the work and know what’s at stake. Now is not the time to be complacent. We’re going to need everything we’ve built in this time of crisis to forge a new path forward and to hold elected officials accountable whoever they may be—or to take it from them. And the more we can let go of our grasp to this idea of democracy—because we’ve never truly had democracy—the more we can actually build the democratic models we want to see.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Learn more about Reem Assil and her bakery \u003ca href=\"https://www.reemscalifornia.com/about\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The Palestinian-Syrian chef discusses the importance of face-to-face, in-person organizing. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>In 2020, the United States faces an election like no other. Citizens will vote in the midst of a global pandemic, severe climate change, an uprising for racial justice and an administration that has eroded the norms of democracy. In ‘\u003ca href=\"https://www.kqed.org/whats-on-your-ballot\" target=\"_blank\" rel=\"noopener noreferrer\">What’s on Your Ballot\u003c/a>,’ KQED checks in with ten different artists, activists and cultural figures about the issues on their minds and their hopes for the country.\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">R\u003c/span>eem Assil opened Reem’s California in 2017, inspired by Arab street corner bakeries and the vibrant communities surrounding them. The Palestinian-Syrian chef descirbes Reem’s as “a place where Arabs could feel celebrated and proud” during a post-9/11 world in which many Arab communities were threatened, attacked, and forced to hide their identities as Mediterranean or Greek. The bakery was also created to serve as a space for the social justice community where people could meet, strategize, and enjoy a good meal. Says Assil, “You come from Reem’s, you come from the whole movement.” \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Prior to founding Reem’s, Assil was engaged in political activism and community organizing for many years. She worked for a decade as a labor and community organizer at SEIU Local 1877 and East Bay Alliance for a Sustainable Economy (EBASE), where she fought for the dignity and equality of workers in the Bay Area. In the face of the pandemic, Assil has transformed Reem’s Oakland location into a kitchen that currently feeds more than 10,000 people in need every month, and hopes to transition the bakery into a worker owned cooperative.\u003cem>—Sam K. Lew\u003c/em> \u003c/span>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>As we head into the election, what do you make of the political climate in America today?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s a climate that is very polarized. I worry about that because there is a whole generation, particularly a younger generation, that is really galvanized but has no institutions to plug into. What happens when you have a group of people who are galvanized but not organized? Because of COVID, folks are stuck in front of social media and that becomes their only way to relate to the world, which doesn’t necessarily affect the change that we want. However, I do think there are communities on the very local level who are doing a good job of creating institutions that are protecting their own. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>As a Bay Area chef and restaurant owner, what is the importance of the food industry in this current moment? \u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The one thing that I’ve really tried to push on my fellow chefs, especially to those who are business owners, is that it’s not about the business owner right now, although certainly we’ve been impacted. It’s about the communities that we live in and our workers and this economy that is crumbling. While I would appreciate government assistance, I would rather see policies that will lift all of us up. Sometimes, I feel like the advocacy is more narrow-minded on a national level about what it would take to save restaurants.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13887183\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/D7A9831.jpg\" alt=\"Reem Assil prepares meals for The Unity Council to distribute to those in need of food. The Unity Council is a non-profit organization that provides assistance for low-income children, families and immigrants.\" width=\"800\" height=\"533\" class=\"size-full wp-image-13887183\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9831.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9831-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9831-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reem Assil and Karl Greene prepare meals for The Unity Council to distribute to those in need of food. The Unity Council is a non-profit organization that provides assistance for low-income children, families and immigrants. \u003ccite>(Estefany Gonzalez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">There is a tremendous opportunity to redefine restaurants’ role in our communities as economic engines, as political stakeholders, as teachers, as organizers. Why not use this moment to organize folks in the workplace? Business owners may be afraid of doing that, but we have to give something up to make this work. Reem’s is transitioning to a worker ownership, shared-governance structure. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Even before we talked about making Reem’s into a co-op, we had always built a model around employing people with the most barriers: hiring people of color, formerly incarcerated folks, and undocumented people—especially when the refugee population surged. It’s a place where people who were overlooked get a chance and get paid well. Our wages were higher than the living wage, and we didn’t create the same hierarchies of the food world. Whether you were the dishwasher or the line cook, Reem’s was about providing a place of refuge. \u003c/span>\u003c/p>\n\u003cp>\u003cb>You’ve been engaged in political activism throughout many elections, including during the Bush administration. What keeps you going, in spite of burnout or cynicism? \u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’ve been part of political campaigns where we’ve seen the changes. I’ve seen the power of good old-fashioned door knocking. The act of talking to my fellow citizens is honestly the more transformative piece of the work than the actual outcome of the campaign. I’ve been part of campaigns where we’ve won and ones that we haven’t won, but it was still powerful because you build relationships with your community and you get clearer about what moves us into a better future. It’s really about the face-to-face organizing and strategizing. It’s lovely to win, too. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13887177\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/D7A9796.jpg\" alt=\"Restaurant owner Reem Assil sits in front of Reem’s California in Oakland on Sept. 29, 2020. Assil closed the restaurant's Fruitvale location to the public and now uses it to provide food for vulnerable communities affected by the 2020 global pandemic. \" width=\"800\" height=\"533\" class=\"size-full wp-image-13887177\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9796.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9796-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9796-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Restaurant owner Reem Assil sits in front of Reem’s California in Oakland on Sept. 29, 2020. Assil closed the restaurant’s Fruitvale location to the public and now uses it to provide food for vulnerable communities affected by the 2020 global pandemic. \u003ccite>(Estefany Gonzalez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Electoral work is just one tool in our toolkit as we fight for a more just and equitable world. What are some other tools that we can use during and beyond the election?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We should be taking care of one another. One of the most inspiring things of this moment is the mutual aid efforts that have popped up. We can’t really start a movement unless we get our basic needs met. It’s hard to tell people who have four jobs and who don’t have healthcare to go out and vote. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At Reem’s, we’ve been partnering with SF New Deal and the World Central Kitchen to provide meals to people who need it. We make about 10,000 meals a month. We’re working with the Arab Resource and Organizing Center and the Palestinian Youth Movement to get meals to low-income Arab families. Restaurants could be feeding people and benefitting from it if we were subsidized by the government. Can you imagine if restaurants had structures to do this? \u003c/span>\u003c/p>\n\u003cp>\u003cb>Your work lies at the intersections of borders, nations, people—it is deeply international. What does this look like for you in the face of the election while engaging in local work? \u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Particularly around food sovereignty, my work has always been internationalist. I’m an extension of the diaspora and of home. As a Palestian and as a Syrian, I try to keep the narrative of my people front and center. That’s important for their fight: to be seen and not to be invisibilized. I know the more I can connect the local with the foreign, the more success we’ll have. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13887178\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/D7A9808.jpg\" alt=\"Restaurant owner Reem Assil at Reem’s California in Oakland on Sept. 29, 2020.\" width=\"800\" height=\"533\" class=\"size-full wp-image-13887178\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9808.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9808-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9808-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Restaurant owner Reem Assil at Reem’s California in Oakland on Sept. 29, 2020. \u003ccite>(Estefany Gonzalez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The reality is that on the foreign policy level, the militarization of the U.S. is not going to change with the Democratic party. If you think about the Obama regime, his immigration policy was horrible, Guantanamo didn’t get closed down, the troops were still abroad. The system is much bigger than who is in the seat of the president. But some things do change when people in power are pressured. I think about Apartheid South Africa when we decided to engage in the boycott. That was the result of organizing that impacted foreign policy. So we have to keep that pressure until—as we say in organizing—the person in power will move on something because it’s too expensive for them not to. \u003c/span>\u003c/p>\n\u003cp>\u003cb>After the election—no matter how it goes—what are your hopes and goals for the country, and for the Bay Area?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I hope that we can use the situation to politicize folks and help them understand why it’s important to build. No matter who wins, I hope this moment galvanizes people to do the work and know what’s at stake. Now is not the time to be complacent. We’re going to need everything we’ve built in this time of crisis to forge a new path forward and to hold elected officials accountable whoever they may be—or to take it from them. And the more we can let go of our grasp to this idea of democracy—because we’ve never truly had democracy—the more we can actually build the democratic models we want to see.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Learn more about Reem Assil and her bakery \u003ca href=\"https://www.reemscalifornia.com/about\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "5 Bay Area Artists Receive the First Major Grant for Disabled Creatives",
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"content": "\u003cp>20 interdisciplinary artists from across the country just got a $50,000 boost in funding for their practices, and five of the recipients hail from the Bay Area.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.fordfound.org/work/investing-in-individuals/disability-futures-fellows/\" target=\"_blank\" rel=\"noopener noreferrer\">Disability Futures fellowship\u003c/a> is the first national, multidisciplinary award for disabled creative practitioners. Administered by United States Artists and funded by the Ford Foundation and Andrew W. Mellon Foundation, the grant seeks to elevate these artists’ work and public profile. Among the winners is San Francisco activist and author \u003ca href=\"http://disabilityvisibilityproject.com\" target=\"_blank\" rel=\"noopener noreferrer\">Alice Wong\u003c/a>. Wong founded the Disability Visibility Project, which amplifies the work of disabled artists and activists; she also hosts the Disability Visibility podcast and has published multiple books, including \u003cem>Disability Visibility: First Person Stories from the Twenty-First Century\u003c/em>.\u003c/p>\n\u003cp>Berkeley filmmaker Jim LeBrecht is another winner. LeBrecht co-directed and co-produced the Sundance-winning documentary \u003ca href=\"http://cripcamp.com\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Crip Camp: A Disability Revolution\u003c/em>\u003c/a>, about a summer camp that spurred a movement. He brings with him 40 years of experience and numerous credits in directing, sound mixing and screenwriting, and is a board member of the Disability Rights Education & Defense Fund.\u003c/p>\n\u003cp>Other Disability Futures Fellows include Oakland writer and educator Mia Mingus, whose blog \u003ca href=\"https://leavingevidence.wordpress.com\" target=\"_blank\" rel=\"noopener noreferrer\">Leaving Evidence\u003c/a> is an important educational resource. Berkeley’s Patty Berne was awarded for her work with \u003ca href=\"https://www.sinsinvalid.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Sins Invalid\u003c/a>, the performing arts organization she co-founded to center disabled artists who are of color and/or LGBTQ+. And finally, Los Altos choreographer \u003ca href=\"http://www.alicesheppard.com\" target=\"_blank\" rel=\"noopener noreferrer\">Alice Sheppard\u003c/a> won the prize for her work with Kinetic Light, a performing arts group that incorporates dance and technology to advance conversations about disability justice.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>20 interdisciplinary artists from across the country just got a $50,000 boost in funding for their practices, and five of the recipients hail from the Bay Area.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.fordfound.org/work/investing-in-individuals/disability-futures-fellows/\" target=\"_blank\" rel=\"noopener noreferrer\">Disability Futures fellowship\u003c/a> is the first national, multidisciplinary award for disabled creative practitioners. Administered by United States Artists and funded by the Ford Foundation and Andrew W. Mellon Foundation, the grant seeks to elevate these artists’ work and public profile. Among the winners is San Francisco activist and author \u003ca href=\"http://disabilityvisibilityproject.com\" target=\"_blank\" rel=\"noopener noreferrer\">Alice Wong\u003c/a>. Wong founded the Disability Visibility Project, which amplifies the work of disabled artists and activists; she also hosts the Disability Visibility podcast and has published multiple books, including \u003cem>Disability Visibility: First Person Stories from the Twenty-First Century\u003c/em>.\u003c/p>\n\u003cp>Berkeley filmmaker Jim LeBrecht is another winner. LeBrecht co-directed and co-produced the Sundance-winning documentary \u003ca href=\"http://cripcamp.com\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Crip Camp: A Disability Revolution\u003c/em>\u003c/a>, about a summer camp that spurred a movement. He brings with him 40 years of experience and numerous credits in directing, sound mixing and screenwriting, and is a board member of the Disability Rights Education & Defense Fund.\u003c/p>\n\u003cp>Other Disability Futures Fellows include Oakland writer and educator Mia Mingus, whose blog \u003ca href=\"https://leavingevidence.wordpress.com\" target=\"_blank\" rel=\"noopener noreferrer\">Leaving Evidence\u003c/a> is an important educational resource. Berkeley’s Patty Berne was awarded for her work with \u003ca href=\"https://www.sinsinvalid.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Sins Invalid\u003c/a>, the performing arts organization she co-founded to center disabled artists who are of color and/or LGBTQ+. And finally, Los Altos choreographer \u003ca href=\"http://www.alicesheppard.com\" target=\"_blank\" rel=\"noopener noreferrer\">Alice Sheppard\u003c/a> won the prize for her work with Kinetic Light, a performing arts group that incorporates dance and technology to advance conversations about disability justice.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ci data-stringify-type=\"italic\">In 2020, the United States faces an election like no other. Citizens will vote in the midst of a global pandemic, severe climate change, an uprising for racial justice and an administration that has eroded the norms of democracy. In ‘\u003ca href=\"https://www.kqed.org/arts/tag/whats-on-your-ballot\" target=\"_blank\" rel=\"noopener noreferrer\">What’s on Your Ballot?\u003c/a>,’ KQED checks in with ten different artists, activists and cultural figures about the issues on their minds and their hopes for the country.\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">R\u003c/span>ude awakenings are an important part of justice-making. In early September, Californians woke to a shocking burnt-orange sky, one that made it difficult to distinguish between day and night. But how many connected the sky’s shade to systemic injustices of the past—for example, the attempted erasure of regenerative Indigenous knowledge?\u003c/p>\n\u003cp>Luckily, the earth provides opportunities to cherish what we once took for granted, like clear blue skies and hummingbirds. One hummingbird visited climate advocate and youth organizer Inkza Angeles Bautista as we met at Fruitvale Plaza for this interview.\u003c/p>\n\u003cp>Bautista has spent the past four years participating in the \u003ca href=\"https://www.podersf.org/staff/inkza-angeles-bautista/\" target=\"_blank\" rel=\"noopener noreferrer\">PODER Youth organizing program\u003c/a>, and she is also the Climate Justice Alliance’s new Youth Articulation and Organizing Fellow. Raised in San Francisco’s Mission District, Bautista says that her family provided her the tools she needed to speak truth to power. Her name also reflects her rich cultural background: her parents “took the Ink in Inca and the Za in Zapotec and they put it together … so, it means two communities united by love.”\u003c/p>\n\u003cp>I talked with Bautista about her take on the upcoming elections, about casting her ballot for president for the first time and her vision for a more just world.\u003cem>—Maddy Clifford\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>As we head into the election, what do you make of the political climate in the United States today?\u003c/strong>\u003c/p>\n\u003cp>I am feeling so constrained. This is a super crucial moment in time. This is the first year we’re ever gonna go into an election with a pandemic, and with this crazy climate chaos going on and so many other things. There’s two different sides to this election and it’s honestly two different sides of the same coin. Our U.S. government is a joke. There is no true democracy and that is something we need to continue to fight for—like, true people-power democracy that’s from the bottom up. I feel like there’s a worse candidate and there’s a worser candidate, so I feel really constrained.\u003c/p>\n\u003cfigure id=\"attachment_13887890\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887890\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/022_KQEDArts_ElectionPortraits_InkzaAngelesBautista_10082020-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/022_KQEDArts_ElectionPortraits_InkzaAngelesBautista_10082020-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/022_KQEDArts_ElectionPortraits_InkzaAngelesBautista_10082020-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/022_KQEDArts_ElectionPortraits_InkzaAngelesBautista_10082020-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/022_KQEDArts_ElectionPortraits_InkzaAngelesBautista_10082020-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/022_KQEDArts_ElectionPortraits_InkzaAngelesBautista_10082020-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/022_KQEDArts_ElectionPortraits_InkzaAngelesBautista_10082020.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inkza Angeles Bautista: ‘it’s important to get young people involved because sometimes we forget about the knowledge that they hold, the power that they hold.’ \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So I feel a little bit hopeless in that political realm, but hopeful in other realms. I definitely think people are mobilizing in a way, and uniting. When we look at the Black Lives Matter movement, when we look at the Indigenous Sovereignty Movement, there are so many movements of people that are united together and really getting the knowledge so that they can start to be autonomous. There’s so much people-power. So much potential to build. People are working in a way that’s like: “Forget this ‘democracy.’ We need to really start a revolution and create our own democracy because this system is trash. There is nothing to salvage from it.”\u003c/p>\n\u003cp>\u003cstrong>Is this your first time voting for president? What excites you about this process? What might feel discouraging?\u003c/strong>\u003c/p>\n\u003cp>Yes, this is my first time voting for president; I am 19 years old. I’m excited to cast my ballot. It’s an important stepping stone in a person’s life, when you get to fill out a ballot and be like, “My voice counts.” And I have mixed emotions about that too. It feels discouraging when I think about the reality that regardless of, sometimes, a majority of people voting for certain candidates, certain propositions, certain policies, a lot of the time we still get overthrown by the money. Capitalism always plays a role in this. Big industries have so much leverage in the policies and the politicians who get chosen. So I just be feeling like, “Is my voice even really being heard?” But I can tell you last year when I filled out the ballots for local policies, I did feel some type of power. So I’m making the action of putting in my ballot, putting in my piece. [aside label=\"From KQED's California Voter Guide\" link1='https://www.kqed.org/voterguide/,All the State Props, All the Bay Area Measures' hero=https://ww2.kqed.org/app/uploads/2020/10/KQED-Election-2020-Aside-CA-Voter-Guide.png]\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/voterguide/proposition-15-business-property-taxes\" target=\"_blank\" rel=\"noopener noreferrer\">Schools and Communities First Initiative\u003c/a> is something that I’m excited about—bringing funding, resources and also having more of a democratic process in choosing administrators. I really am a lover of education even though I’m not a school person myself. The kind of schooling that we have here, it’s very traditional, it’s very rigid. I think we don’t focus enough in on honoring the diversity of people … we have very little funding, especially in public schools, for arts and we approach education like everyone is exactly the same.\u003c/p>\n\u003cp>\u003cstrong>Have you seen any opportunities for us to reimagine the way that we educate?\u003c/strong>\u003c/p>\n\u003cp>With the pandemic, those differences in the way that young people approach learning and how they learn have been so present. And so it’s super crucial to meet students right now halfway, because of all the chaos in the world. But we should be doing that not only because we’re in a pandemic—in schools we need to be doing that too. I’m in college, and [educators] are doing better than they would if I was in the physical school at City College [of San Francisco]. They’re checking in on our mental health, sometimes they let you slide, or they’re trying to be understanding of situations going on in the house. The system needs to be for students, about educating young people and people being passionate.\u003c/p>\n\u003cfigure id=\"attachment_13887892\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887892\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/030_KQEDArts_ElectionPortraits_InkzaAngelesBautista_10082020-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/030_KQEDArts_ElectionPortraits_InkzaAngelesBautista_10082020-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/030_KQEDArts_ElectionPortraits_InkzaAngelesBautista_10082020-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/030_KQEDArts_ElectionPortraits_InkzaAngelesBautista_10082020-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/030_KQEDArts_ElectionPortraits_InkzaAngelesBautista_10082020-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/030_KQEDArts_ElectionPortraits_InkzaAngelesBautista_10082020-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/030_KQEDArts_ElectionPortraits_InkzaAngelesBautista_10082020.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inkza Angeles Bautista: ‘We need to really put our game faces on and fight for to protect our earth. We only got one.’ \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What can politicians do differently to encourage and involve young voters? What are you noticing about young people and the voting process?\u003c/strong>\u003c/p>\n\u003cp>We need to be super intentional about \u003ca href=\"https://www.kqed.org/voterguide/proposition-18-voting-17-year-olds\" target=\"_blank\" rel=\"noopener noreferrer\">integrating young people into the voting process\u003c/a>. Because sometimes they don’t want to take that first step, so we have to meet each other halfway. I think some of the ways we can involve young people are anything from going out into the streets, which we have been doing … I’ve been doing some phone banking for different propositions and the people that I call up are usually adults. Because we’re not targeting young people.\u003c/p>\n\u003cp>There’s so many ways we can engage youth—through art, through the digital world, Instagram, memes. And it’s important to get young people involved because sometimes we forget about the knowledge that they hold, the power that they hold. As a young person I feel that too. I enter spaces and they’re just like, “Well, your wisdom is not valid here.” And that’s messed up because my knowledge is valid. It’s important, it’s crucial. And that’s what I think all young people are: they’re crucial to the democratic process. They need to start young and learn about this stuff young so that they can be more informed as they grow older. And a lot of the time we don’t have access to that.\u003c/p>\n\u003cp>\u003cstrong>One of the biggest issues for young people is one you’re really involved in, which is the climate crisis we’re facing. I think all of us really had real grounding when the sky was orange. What was that like for you?\u003c/strong>\u003c/p>\n\u003cp>It was apocalyptic. I woke up and I was in shock. I was like, Did I wake up in the night? And I opened my windows and it was pitch black and dark red. How many centuries of pollution does it take for us to get to this point where we’re experiencing all the negative consequences? Especially as youth. Decades and decades and decades of human population, which is so crazy. I remember getting on Instagram and everyone was posting it, everyone was Snapchatting it and I was just like, \u003cem>oh my goodness, this isn’t a joke\u003c/em>. Everyone has been saying “2020, this and that,” everything in this year. No, it’s only gonna get worse if we don’t make a change. This is a wake-up call.\u003c/p>\n\u003cp>And I think in terms of urgency for young people, we’re the ones who are gonna stay here the longest. And it’s so scary to think about the fact that we’re gonna have to mobilize super fast and take on the struggle to fight climate change. Sometimes I think, is it even worth it having kids? What kind of world are my nieces, nephews, everyone who is going to be born in the following generations—how are we gonna survive? How are we gonna fight this? There’s so much urgency. It’s such a crucial moment. Sometimes I feel really scared and really hopeless. And other times, days like today I think the earth is showing us that there are wake-up calls. She’s still here, she’s still fighting, so we need to fight too. We need to really put our game faces on and fight to protect our earth. We’ve only got one.\u003c/p>\n\u003cfigure id=\"attachment_13887893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887893\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/023_KQEDArts_ElectionPortraits_InkzaAngelesBautista_10082020-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/023_KQEDArts_ElectionPortraits_InkzaAngelesBautista_10082020-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/023_KQEDArts_ElectionPortraits_InkzaAngelesBautista_10082020-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/023_KQEDArts_ElectionPortraits_InkzaAngelesBautista_10082020-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/023_KQEDArts_ElectionPortraits_InkzaAngelesBautista_10082020-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/023_KQEDArts_ElectionPortraits_InkzaAngelesBautista_10082020-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/023_KQEDArts_ElectionPortraits_InkzaAngelesBautista_10082020.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inkza Angeles Bautista: ’Indigenous peoples have so much wisdom and so much knowledge on how to take care of the earth.’ \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Centuries-old Indigenous knowledge is starting to be recognized in more mainstream circles as the core of combating the climate crisis—for example, they just lifted these laws that banned Indigenous groups from engaging in burning practices that would help make fires less lethal. Does that give you hope?\u003c/strong>\u003c/p>\n\u003cp>Whenever I feel hopeless I always revert back to my Indigenous roots and practices. Gardening is one of those things that really connects me to mother earth, and it’s something that I know that my ancestors have practiced for thousands of years. Indigenous peoples have so much wisdom and so much knowledge on how to take care of the earth, which is why it’s so crazy that our Indigenous peoples from all over the world—from Asia to Africa to all of the Americas—all of our Indigenous practices were stripped from us. We’re still, to this day, fighting just to be able to practice some of them. We knew how to not only be in balance but in a regenerative relationship with the earth, and that’s what we need to find our way back to, a practice of give and take.\u003c/p>\n\u003cp>We need to revolutionize the way we live our lives, the way we consume. The way we are living right now is in total disharmony. We need to give back land and full stewardship, full rights to practice ancient, Indigenous ways. And the saddest part is we’re losing time because some of our older generations are dying. That knowledge is in short supply, because sometimes it’s not being handed down. Cultural celebration and cultural preservation is such an important and key role in the regeneration of our species as a whole.\u003c/p>\n\u003cp>\u003cstrong>After the election—no matter how it goes—what are your hopes and goals for the country, and for the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>I’m a community organizer on a city level, on a community level, and on a national level—[especially now through my work] with the Climate Justice Alliance. What I envision for the future is a just transition, and that really means revolutionizing the way we eat, the way we play, the way we transport ourselves, the way we consume. A just transition from the type of extractive economy that we have, and by economy I mean “the way we manage home.” Really being super radical—dumping out the old ways that are toxic, that are not doing any favors to anyone in the world. Capitalism and consumer culture need to go.\u003c/p>\n\u003cp>I just envision our most vulnerable, our most, first- and worst-impacted communities thriving. When those communities are reached, when they’re thriving—not only people but animals, plants, plancestors … when all of those communities are thriving then we’ll know we made a just transition. That’s what I envision.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This interview was edited for length and clarity. Learn more about Inkza Angeles Bautista \u003ca href=\"https://www.podersf.org/staff/inkza-angeles-bautista/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci data-stringify-type=\"italic\">In 2020, the United States faces an election like no other. Citizens will vote in the midst of a global pandemic, severe climate change, an uprising for racial justice and an administration that has eroded the norms of democracy. In ‘\u003ca href=\"https://www.kqed.org/arts/tag/whats-on-your-ballot\" target=\"_blank\" rel=\"noopener noreferrer\">What’s on Your Ballot?\u003c/a>,’ KQED checks in with ten different artists, activists and cultural figures about the issues on their minds and their hopes for the country.\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">R\u003c/span>ude awakenings are an important part of justice-making. In early September, Californians woke to a shocking burnt-orange sky, one that made it difficult to distinguish between day and night. But how many connected the sky’s shade to systemic injustices of the past—for example, the attempted erasure of regenerative Indigenous knowledge?\u003c/p>\n\u003cp>Luckily, the earth provides opportunities to cherish what we once took for granted, like clear blue skies and hummingbirds. One hummingbird visited climate advocate and youth organizer Inkza Angeles Bautista as we met at Fruitvale Plaza for this interview.\u003c/p>\n\u003cp>Bautista has spent the past four years participating in the \u003ca href=\"https://www.podersf.org/staff/inkza-angeles-bautista/\" target=\"_blank\" rel=\"noopener noreferrer\">PODER Youth organizing program\u003c/a>, and she is also the Climate Justice Alliance’s new Youth Articulation and Organizing Fellow. Raised in San Francisco’s Mission District, Bautista says that her family provided her the tools she needed to speak truth to power. Her name also reflects her rich cultural background: her parents “took the Ink in Inca and the Za in Zapotec and they put it together … so, it means two communities united by love.”\u003c/p>\n\u003cp>I talked with Bautista about her take on the upcoming elections, about casting her ballot for president for the first time and her vision for a more just world.\u003cem>—Maddy Clifford\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>As we head into the election, what do you make of the political climate in the United States today?\u003c/strong>\u003c/p>\n\u003cp>I am feeling so constrained. This is a super crucial moment in time. This is the first year we’re ever gonna go into an election with a pandemic, and with this crazy climate chaos going on and so many other things. There’s two different sides to this election and it’s honestly two different sides of the same coin. Our U.S. government is a joke. There is no true democracy and that is something we need to continue to fight for—like, true people-power democracy that’s from the bottom up. I feel like there’s a worse candidate and there’s a worser candidate, so I feel really constrained.\u003c/p>\n\u003cfigure id=\"attachment_13887890\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887890\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/022_KQEDArts_ElectionPortraits_InkzaAngelesBautista_10082020-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/022_KQEDArts_ElectionPortraits_InkzaAngelesBautista_10082020-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/022_KQEDArts_ElectionPortraits_InkzaAngelesBautista_10082020-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/022_KQEDArts_ElectionPortraits_InkzaAngelesBautista_10082020-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/022_KQEDArts_ElectionPortraits_InkzaAngelesBautista_10082020-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/022_KQEDArts_ElectionPortraits_InkzaAngelesBautista_10082020-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/022_KQEDArts_ElectionPortraits_InkzaAngelesBautista_10082020.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inkza Angeles Bautista: ‘it’s important to get young people involved because sometimes we forget about the knowledge that they hold, the power that they hold.’ \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So I feel a little bit hopeless in that political realm, but hopeful in other realms. I definitely think people are mobilizing in a way, and uniting. When we look at the Black Lives Matter movement, when we look at the Indigenous Sovereignty Movement, there are so many movements of people that are united together and really getting the knowledge so that they can start to be autonomous. There’s so much people-power. So much potential to build. People are working in a way that’s like: “Forget this ‘democracy.’ We need to really start a revolution and create our own democracy because this system is trash. There is nothing to salvage from it.”\u003c/p>\n\u003cp>\u003cstrong>Is this your first time voting for president? What excites you about this process? What might feel discouraging?\u003c/strong>\u003c/p>\n\u003cp>Yes, this is my first time voting for president; I am 19 years old. I’m excited to cast my ballot. It’s an important stepping stone in a person’s life, when you get to fill out a ballot and be like, “My voice counts.” And I have mixed emotions about that too. It feels discouraging when I think about the reality that regardless of, sometimes, a majority of people voting for certain candidates, certain propositions, certain policies, a lot of the time we still get overthrown by the money. Capitalism always plays a role in this. Big industries have so much leverage in the policies and the politicians who get chosen. So I just be feeling like, “Is my voice even really being heard?” But I can tell you last year when I filled out the ballots for local policies, I did feel some type of power. So I’m making the action of putting in my ballot, putting in my piece. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/voterguide/proposition-15-business-property-taxes\" target=\"_blank\" rel=\"noopener noreferrer\">Schools and Communities First Initiative\u003c/a> is something that I’m excited about—bringing funding, resources and also having more of a democratic process in choosing administrators. I really am a lover of education even though I’m not a school person myself. The kind of schooling that we have here, it’s very traditional, it’s very rigid. I think we don’t focus enough in on honoring the diversity of people … we have very little funding, especially in public schools, for arts and we approach education like everyone is exactly the same.\u003c/p>\n\u003cp>\u003cstrong>Have you seen any opportunities for us to reimagine the way that we educate?\u003c/strong>\u003c/p>\n\u003cp>With the pandemic, those differences in the way that young people approach learning and how they learn have been so present. And so it’s super crucial to meet students right now halfway, because of all the chaos in the world. But we should be doing that not only because we’re in a pandemic—in schools we need to be doing that too. I’m in college, and [educators] are doing better than they would if I was in the physical school at City College [of San Francisco]. They’re checking in on our mental health, sometimes they let you slide, or they’re trying to be understanding of situations going on in the house. The system needs to be for students, about educating young people and people being passionate.\u003c/p>\n\u003cfigure id=\"attachment_13887892\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887892\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/030_KQEDArts_ElectionPortraits_InkzaAngelesBautista_10082020-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/030_KQEDArts_ElectionPortraits_InkzaAngelesBautista_10082020-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/030_KQEDArts_ElectionPortraits_InkzaAngelesBautista_10082020-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/030_KQEDArts_ElectionPortraits_InkzaAngelesBautista_10082020-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/030_KQEDArts_ElectionPortraits_InkzaAngelesBautista_10082020-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/030_KQEDArts_ElectionPortraits_InkzaAngelesBautista_10082020-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/030_KQEDArts_ElectionPortraits_InkzaAngelesBautista_10082020.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inkza Angeles Bautista: ‘We need to really put our game faces on and fight for to protect our earth. We only got one.’ \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What can politicians do differently to encourage and involve young voters? What are you noticing about young people and the voting process?\u003c/strong>\u003c/p>\n\u003cp>We need to be super intentional about \u003ca href=\"https://www.kqed.org/voterguide/proposition-18-voting-17-year-olds\" target=\"_blank\" rel=\"noopener noreferrer\">integrating young people into the voting process\u003c/a>. Because sometimes they don’t want to take that first step, so we have to meet each other halfway. I think some of the ways we can involve young people are anything from going out into the streets, which we have been doing … I’ve been doing some phone banking for different propositions and the people that I call up are usually adults. Because we’re not targeting young people.\u003c/p>\n\u003cp>There’s so many ways we can engage youth—through art, through the digital world, Instagram, memes. And it’s important to get young people involved because sometimes we forget about the knowledge that they hold, the power that they hold. As a young person I feel that too. I enter spaces and they’re just like, “Well, your wisdom is not valid here.” And that’s messed up because my knowledge is valid. It’s important, it’s crucial. And that’s what I think all young people are: they’re crucial to the democratic process. They need to start young and learn about this stuff young so that they can be more informed as they grow older. And a lot of the time we don’t have access to that.\u003c/p>\n\u003cp>\u003cstrong>One of the biggest issues for young people is one you’re really involved in, which is the climate crisis we’re facing. I think all of us really had real grounding when the sky was orange. What was that like for you?\u003c/strong>\u003c/p>\n\u003cp>It was apocalyptic. I woke up and I was in shock. I was like, Did I wake up in the night? And I opened my windows and it was pitch black and dark red. How many centuries of pollution does it take for us to get to this point where we’re experiencing all the negative consequences? Especially as youth. Decades and decades and decades of human population, which is so crazy. I remember getting on Instagram and everyone was posting it, everyone was Snapchatting it and I was just like, \u003cem>oh my goodness, this isn’t a joke\u003c/em>. Everyone has been saying “2020, this and that,” everything in this year. No, it’s only gonna get worse if we don’t make a change. This is a wake-up call.\u003c/p>\n\u003cp>And I think in terms of urgency for young people, we’re the ones who are gonna stay here the longest. And it’s so scary to think about the fact that we’re gonna have to mobilize super fast and take on the struggle to fight climate change. Sometimes I think, is it even worth it having kids? What kind of world are my nieces, nephews, everyone who is going to be born in the following generations—how are we gonna survive? How are we gonna fight this? There’s so much urgency. It’s such a crucial moment. Sometimes I feel really scared and really hopeless. And other times, days like today I think the earth is showing us that there are wake-up calls. She’s still here, she’s still fighting, so we need to fight too. We need to really put our game faces on and fight to protect our earth. We’ve only got one.\u003c/p>\n\u003cfigure id=\"attachment_13887893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887893\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/023_KQEDArts_ElectionPortraits_InkzaAngelesBautista_10082020-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/023_KQEDArts_ElectionPortraits_InkzaAngelesBautista_10082020-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/023_KQEDArts_ElectionPortraits_InkzaAngelesBautista_10082020-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/023_KQEDArts_ElectionPortraits_InkzaAngelesBautista_10082020-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/023_KQEDArts_ElectionPortraits_InkzaAngelesBautista_10082020-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/023_KQEDArts_ElectionPortraits_InkzaAngelesBautista_10082020-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/023_KQEDArts_ElectionPortraits_InkzaAngelesBautista_10082020.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inkza Angeles Bautista: ’Indigenous peoples have so much wisdom and so much knowledge on how to take care of the earth.’ \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Centuries-old Indigenous knowledge is starting to be recognized in more mainstream circles as the core of combating the climate crisis—for example, they just lifted these laws that banned Indigenous groups from engaging in burning practices that would help make fires less lethal. Does that give you hope?\u003c/strong>\u003c/p>\n\u003cp>Whenever I feel hopeless I always revert back to my Indigenous roots and practices. Gardening is one of those things that really connects me to mother earth, and it’s something that I know that my ancestors have practiced for thousands of years. Indigenous peoples have so much wisdom and so much knowledge on how to take care of the earth, which is why it’s so crazy that our Indigenous peoples from all over the world—from Asia to Africa to all of the Americas—all of our Indigenous practices were stripped from us. We’re still, to this day, fighting just to be able to practice some of them. We knew how to not only be in balance but in a regenerative relationship with the earth, and that’s what we need to find our way back to, a practice of give and take.\u003c/p>\n\u003cp>We need to revolutionize the way we live our lives, the way we consume. The way we are living right now is in total disharmony. We need to give back land and full stewardship, full rights to practice ancient, Indigenous ways. And the saddest part is we’re losing time because some of our older generations are dying. That knowledge is in short supply, because sometimes it’s not being handed down. Cultural celebration and cultural preservation is such an important and key role in the regeneration of our species as a whole.\u003c/p>\n\u003cp>\u003cstrong>After the election—no matter how it goes—what are your hopes and goals for the country, and for the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>I’m a community organizer on a city level, on a community level, and on a national level—[especially now through my work] with the Climate Justice Alliance. What I envision for the future is a just transition, and that really means revolutionizing the way we eat, the way we play, the way we transport ourselves, the way we consume. A just transition from the type of extractive economy that we have, and by economy I mean “the way we manage home.” Really being super radical—dumping out the old ways that are toxic, that are not doing any favors to anyone in the world. Capitalism and consumer culture need to go.\u003c/p>\n\u003cp>I just envision our most vulnerable, our most, first- and worst-impacted communities thriving. When those communities are reached, when they’re thriving—not only people but animals, plants, plancestors … when all of those communities are thriving then we’ll know we made a just transition. That’s what I envision.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This interview was edited for length and clarity. Learn more about Inkza Angeles Bautista \u003ca href=\"https://www.podersf.org/staff/inkza-angeles-bautista/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "whats-on-your-ballot-adnan-khan-prisoners-advocate",
"title": "What’s On Your Ballot?: Adnan Khan, Incarcerated Peoples' Advocate",
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"headTitle": "What’s On Your Ballot?: Adnan Khan, Incarcerated Peoples’ Advocate | KQED",
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"content": "\u003cp>\u003cem>In 2020, the United States faces an election like no other. Citizens will vote in the midst of a global pandemic, severe climate change, an uprising for racial justice and an administration that has eroded the norms of democracy. In ‘\u003ca href=\"https://www.kqed.org/whats-on-your-ballot\" target=\"_blank\" rel=\"noopener noreferrer\">What’s on Your Ballot\u003c/a>,’ KQED checks in with ten different artists, activists and cultural figures about the issues on their minds and their hopes for the country.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>dnan Khan is the executive director of \u003ca href=\"https://restorecal.org/author/adnan/\" target=\"_blank\" rel=\"noopener noreferrer\">Re:Store Justice\u003c/a>, a nonprofit that he co-founded in 2017 while incarcerated in San Quentin State Prison. The organization offers resources to survivors of violent crimes, leads transformative justice workshops to those who’ve committed crimes and holds restorative justice discussions between offenders and survivors of violent crimes.\u003c/p>\n\u003cp>At the time of the organization’s inception, Khan was serving a sentence of \u003ca href=\"https://www.kqed.org/news/11720792/my-intentions-were-not-to-kill-adnan-khan-is-first-to-be-released-from-prison-under-new-law#:~:text=He%20was%20convicted%20of%20felony,of%2025%20years%20to%20life.&text=Khan%20spent%20nearly%20half%20of,in%20and%20committed%20a%20robbery.\" target=\"_blank\" rel=\"noopener noreferrer\">25 years to life\u003c/a> under California’s felony murder rule, after participating in a robbery in which his accomplice killed a person. While behind bars, Khan researched and contributed to the efforts that led to the passing of Senate Bill 1437, which allows people charged under the felony murder rule, like himself, to have their cases revisited.\u003c/p>\n\u003cp>Khan was the first person re-sentenced under the new law, and subsequently released that day. Out of San Quentin for just over 18 months, Khan now lives in Los Angeles with his partner and newborn child, Aidan.\u003c/p>\n\u003cp>While Aidan took a nap, Khan recently took time to answer questions about this fall’s election, national politics and how to make a difference in a country where most people feel as if they have no say.\u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>[aside label=\"From KQED's California Voter Guide\" link1='https://www.kqed.org/voterguide/,All the State Props, All the Bay Area Measures' hero=https://ww2.kqed.org/app/uploads/2020/10/KQED-Election-2020-Aside-CA-Voter-Guide.png]\u003c/p>\n\u003cp>\u003cstrong>Coming from your background, how do you look at the two presidential candidates that we have now, and say, ‘One of them might benefit me and the community that I come from?’\u003c/strong>\u003c/p>\n\u003cp>You know, I think that a lot of focus can go to the presidential election, and I believe that there is a huge importance there. But as many of us do know, mass incarceration is a systemic problem, it’s a new form of slavery… And what I’ve learned is that when it comes to mass incarceration or prison, \u003ca href=\"https://www.prisonpolicy.org/reports/pie2020.html\" target=\"_blank\" rel=\"noopener noreferrer\">90% of the people are in state prisons and local jails\u003c/a>.\u003c/p>\n\u003cp>So, when it comes to this voting cycle, it’s really important to know who your governor is, who your state senators are, who your state assembly members are, who your mayor is, who elects the police chief, and who’s your city council, who are your people who can defund the police and reallocate that money. Once I started learning more of the process, I learned that [those] can be very important pieces to focus on the larger pictures.\u003c/p>\n\u003cp>Now, when it comes to the big debate of the lesser of two evils: Kamala Harris, what she’s done toward the contribution of mass incarceration, and Joe Biden, the ’94 crime bill, and what he’s done with the contribution to mass incarceration is horrible. So a lot of people, morally, feel like they can’t vote for them. But not picking the lesser of two evils, and just settling with the larger evil? I personally can’t do that.\u003c/p>\n\u003cp>The last thing I want to add to this—I’ve constantly reflected on this a lot—is as a person who has experienced many losses, and done 16 years in prison, and starting at a maximum security prison as a young adult, I \u003cem>lived\u003c/em> in losses. So, we learn how to maneuver around loss, and what that looks like, how to survive another day, if not a moment, with the correctional staff. I lived under an authoritarian state for 16 years, I lived in autocracy for 16 years. And I’m seeing the parallels with the Trump administration. For me, I can’t see voting for Trump.\u003c/p>\n\u003cfigure id=\"attachment_13887822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887822\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/Adnan.Inside-800x534.jpg\" alt=\"Adnan Khan, pictured here while incarcerated at San Quentin.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Adnan.Inside-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Adnan.Inside-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Adnan.Inside-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Adnan.Inside.jpg 1020w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adnan Khan, pictured here while incarcerated at San Quentin. ‘My amends now would be incomplete if it was only telling someone that I’m sorry,’ Khan says, ‘without preventing a child from committing the same harm that I did.’ \u003ccite>(Courtesy Adnan Khan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did you get inspired enough to do something to change your situation? \u003c/strong>\u003c/p>\n\u003cp>First, I took the steps to educate myself. As you know, in prison, access to information and knowledge is very limited, and it’s done intentionally. I think that gave me more of a hunger, more than anything. Early on in my incarceration, I wanted to investigate my conditions. And as I started to investigate my conditions, I learned that, whoa, there’s a whole systemic thing going on here. And as I kept digging and digging, while living what I’m reading, it was just enlightening. Not in a good way, but in a frustrating way.\u003c/p>\n\u003cp>Another thing that’s very personal to me, as we talk about agency, is that I take full responsibility for my crime and for the harm that I’ve caused. And in order for me to take full responsibility, one, I have to acknowledge what I did, and then two, I have to make a living amends. Which means, how do I repair the damage that I’ve caused? But then, in order for me to even do that, I have to understand: how did I go from an eight-year-old little league baseball player to an 18-year-old with a life sentence?\u003c/p>\n\u003cp>And once I learned how that happened, my amends now would be incomplete if it was only telling someone that I’m sorry, without preventing a child from committing the same harm that I did. And that is rooted in policy, and how our society is structured, and how marginalized children are criminalized in schools. So my amends and my remorse can be there, but it’s incomplete unless I learn about the conditions that led me to commit my crime in the first place.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>That’s tight—it’s like, looking at yourself, and taking agency within your own path and your own experience, and also seeing how society failed you. And then seeing that no one else falls through that same crack.\u003c/strong>\u003c/p>\n\u003cp>I think it’s very misleading to society for someone to take 100% responsibility for the wrong that they’ve done. There are, as you know, societal factors, contributing factors. Like I said, I was 17 years-old. Parentless, homeless, high school dropout. The police showed up after I committed a crime. And so, school: nothing there. Parents: didn’t have any. Didn’t have literally any place to stay. I slept in cars and parks and friends’ houses for like a year. I can take full responsibility—which, I do take full responsibility, for me—but public safety is still at risk if we don’t change conditions.\u003c/p>\n\u003cp>\u003cstrong>To people who feel removed, people that don’t see themselves represented right now by this two-party system, or by local politics, or people who just feel disenfranchised, and don’t have agency—to my young homies who are 18 years-old and have that mindset like, ‘America ain’t mine’—what do you tell them? How do you tell them to get involved?\u003c/strong>\u003c/p>\n\u003cp>Well, I feel like America wasn’t mine either, right? It’s true. The inception of this country is built on property, wealth, and land. Built quite literally over bodies, on genocide. And then enslaving people and then bringing them here. When the constitution was written, they didn’t think about abolishing slavery at that time. So everything they built was to protect themselves, or to protect property. And policing was to protect the property-owning people.\u003c/p>\n\u003cfigure id=\"attachment_13887821\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887821\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/Adnan.Oakland-800x590.jpg\" alt=\"Adnan Khan stands in the Re:Store Justice transitional home in Oakland shortly after his release from San Quentin.\" width=\"800\" height=\"590\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Adnan.Oakland-800x590.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Adnan.Oakland-1020x752.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Adnan.Oakland-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Adnan.Oakland-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Adnan.Oakland-1536x1133.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Adnan.Oakland.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adnan Khan stands in the Re:Store Justice transitional home in Oakland shortly after his release from San Quentin. \u003ccite>(Hope McKenney/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To the young people, I want to say that this is your time. Because more young people are starting to think like you, and are activating. Activation is physical, it’s a verb. You gotta do. Doing, not meaning talking, but going and doing. And more people are doing.\u003c/p>\n\u003cp>What country do you want to live in the next 20 years? Next 15 years? I’ve got a little boy here, and what happens in the next four to eight years is going to be his future. We can set that. You want it, it’s yours. There’s a commercial with an athlete saying that “Greatness isn’t given, it’s taken—you gotta go get it.” Don’t feel like power comes from not participating. Because once you give power away, then you let someone control you, and that’s what’s been happening forever.\u003c/p>\n\u003cp>\u003cstrong>Building off of that, after the election, no matter how it goes, what are your hopes and goals for the future of the country? \u003c/strong>\u003c/p>\n\u003cp>The most important thing to me is strategy. And as we organize and mobilize, it’s important to educate people on what to do and how to do it. A lot of people’s advocacy is what they read on the 280-character tweet. There’s a lot of people who are more interested in abolition, new systems, or whatever, that have come out in the past six or seven months than there have been in my entire life. To organize means to collect people, and then make sure the mobilizing is mobilizing toward a direction. So the next few years is going to be rooted in strategy for me.\u003c/p>\n\u003cp>If we choose to go through what we have, the democratic process, let’s start electing our own. I truly feel like, based on QAnon and all this nonsense that’s happening, this is probably the end of the Republican party. And the Democratic party is more like center-right. Meanwhile there’s this entire party that’s emerging—or has always been around, but it’s being added to, as we’re seeing across the nation—what people are calling the progressive party. There is a third party whose needs are not fully represented, whose ideas are not implemented in society. And so, that’s going to be an interesting political party. I feel like that’s going to be emerging, and fast.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Learn more about Adnan Khan’s work by visiting \u003ca href=\"https://restorecal.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Re:Store Justice\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>In 2020, the United States faces an election like no other. Citizens will vote in the midst of a global pandemic, severe climate change, an uprising for racial justice and an administration that has eroded the norms of democracy. In ‘\u003ca href=\"https://www.kqed.org/whats-on-your-ballot\" target=\"_blank\" rel=\"noopener noreferrer\">What’s on Your Ballot\u003c/a>,’ KQED checks in with ten different artists, activists and cultural figures about the issues on their minds and their hopes for the country.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>dnan Khan is the executive director of \u003ca href=\"https://restorecal.org/author/adnan/\" target=\"_blank\" rel=\"noopener noreferrer\">Re:Store Justice\u003c/a>, a nonprofit that he co-founded in 2017 while incarcerated in San Quentin State Prison. The organization offers resources to survivors of violent crimes, leads transformative justice workshops to those who’ve committed crimes and holds restorative justice discussions between offenders and survivors of violent crimes.\u003c/p>\n\u003cp>At the time of the organization’s inception, Khan was serving a sentence of \u003ca href=\"https://www.kqed.org/news/11720792/my-intentions-were-not-to-kill-adnan-khan-is-first-to-be-released-from-prison-under-new-law#:~:text=He%20was%20convicted%20of%20felony,of%2025%20years%20to%20life.&text=Khan%20spent%20nearly%20half%20of,in%20and%20committed%20a%20robbery.\" target=\"_blank\" rel=\"noopener noreferrer\">25 years to life\u003c/a> under California’s felony murder rule, after participating in a robbery in which his accomplice killed a person. While behind bars, Khan researched and contributed to the efforts that led to the passing of Senate Bill 1437, which allows people charged under the felony murder rule, like himself, to have their cases revisited.\u003c/p>\n\u003cp>Khan was the first person re-sentenced under the new law, and subsequently released that day. Out of San Quentin for just over 18 months, Khan now lives in Los Angeles with his partner and newborn child, Aidan.\u003c/p>\n\u003cp>While Aidan took a nap, Khan recently took time to answer questions about this fall’s election, national politics and how to make a difference in a country where most people feel as if they have no say.\u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Coming from your background, how do you look at the two presidential candidates that we have now, and say, ‘One of them might benefit me and the community that I come from?’\u003c/strong>\u003c/p>\n\u003cp>You know, I think that a lot of focus can go to the presidential election, and I believe that there is a huge importance there. But as many of us do know, mass incarceration is a systemic problem, it’s a new form of slavery… And what I’ve learned is that when it comes to mass incarceration or prison, \u003ca href=\"https://www.prisonpolicy.org/reports/pie2020.html\" target=\"_blank\" rel=\"noopener noreferrer\">90% of the people are in state prisons and local jails\u003c/a>.\u003c/p>\n\u003cp>So, when it comes to this voting cycle, it’s really important to know who your governor is, who your state senators are, who your state assembly members are, who your mayor is, who elects the police chief, and who’s your city council, who are your people who can defund the police and reallocate that money. Once I started learning more of the process, I learned that [those] can be very important pieces to focus on the larger pictures.\u003c/p>\n\u003cp>Now, when it comes to the big debate of the lesser of two evils: Kamala Harris, what she’s done toward the contribution of mass incarceration, and Joe Biden, the ’94 crime bill, and what he’s done with the contribution to mass incarceration is horrible. So a lot of people, morally, feel like they can’t vote for them. But not picking the lesser of two evils, and just settling with the larger evil? I personally can’t do that.\u003c/p>\n\u003cp>The last thing I want to add to this—I’ve constantly reflected on this a lot—is as a person who has experienced many losses, and done 16 years in prison, and starting at a maximum security prison as a young adult, I \u003cem>lived\u003c/em> in losses. So, we learn how to maneuver around loss, and what that looks like, how to survive another day, if not a moment, with the correctional staff. I lived under an authoritarian state for 16 years, I lived in autocracy for 16 years. And I’m seeing the parallels with the Trump administration. For me, I can’t see voting for Trump.\u003c/p>\n\u003cfigure id=\"attachment_13887822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887822\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/Adnan.Inside-800x534.jpg\" alt=\"Adnan Khan, pictured here while incarcerated at San Quentin.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Adnan.Inside-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Adnan.Inside-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Adnan.Inside-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Adnan.Inside.jpg 1020w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adnan Khan, pictured here while incarcerated at San Quentin. ‘My amends now would be incomplete if it was only telling someone that I’m sorry,’ Khan says, ‘without preventing a child from committing the same harm that I did.’ \u003ccite>(Courtesy Adnan Khan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did you get inspired enough to do something to change your situation? \u003c/strong>\u003c/p>\n\u003cp>First, I took the steps to educate myself. As you know, in prison, access to information and knowledge is very limited, and it’s done intentionally. I think that gave me more of a hunger, more than anything. Early on in my incarceration, I wanted to investigate my conditions. And as I started to investigate my conditions, I learned that, whoa, there’s a whole systemic thing going on here. And as I kept digging and digging, while living what I’m reading, it was just enlightening. Not in a good way, but in a frustrating way.\u003c/p>\n\u003cp>Another thing that’s very personal to me, as we talk about agency, is that I take full responsibility for my crime and for the harm that I’ve caused. And in order for me to take full responsibility, one, I have to acknowledge what I did, and then two, I have to make a living amends. Which means, how do I repair the damage that I’ve caused? But then, in order for me to even do that, I have to understand: how did I go from an eight-year-old little league baseball player to an 18-year-old with a life sentence?\u003c/p>\n\u003cp>And once I learned how that happened, my amends now would be incomplete if it was only telling someone that I’m sorry, without preventing a child from committing the same harm that I did. And that is rooted in policy, and how our society is structured, and how marginalized children are criminalized in schools. So my amends and my remorse can be there, but it’s incomplete unless I learn about the conditions that led me to commit my crime in the first place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>That’s tight—it’s like, looking at yourself, and taking agency within your own path and your own experience, and also seeing how society failed you. And then seeing that no one else falls through that same crack.\u003c/strong>\u003c/p>\n\u003cp>I think it’s very misleading to society for someone to take 100% responsibility for the wrong that they’ve done. There are, as you know, societal factors, contributing factors. Like I said, I was 17 years-old. Parentless, homeless, high school dropout. The police showed up after I committed a crime. And so, school: nothing there. Parents: didn’t have any. Didn’t have literally any place to stay. I slept in cars and parks and friends’ houses for like a year. I can take full responsibility—which, I do take full responsibility, for me—but public safety is still at risk if we don’t change conditions.\u003c/p>\n\u003cp>\u003cstrong>To people who feel removed, people that don’t see themselves represented right now by this two-party system, or by local politics, or people who just feel disenfranchised, and don’t have agency—to my young homies who are 18 years-old and have that mindset like, ‘America ain’t mine’—what do you tell them? How do you tell them to get involved?\u003c/strong>\u003c/p>\n\u003cp>Well, I feel like America wasn’t mine either, right? It’s true. The inception of this country is built on property, wealth, and land. Built quite literally over bodies, on genocide. And then enslaving people and then bringing them here. When the constitution was written, they didn’t think about abolishing slavery at that time. So everything they built was to protect themselves, or to protect property. And policing was to protect the property-owning people.\u003c/p>\n\u003cfigure id=\"attachment_13887821\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887821\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/Adnan.Oakland-800x590.jpg\" alt=\"Adnan Khan stands in the Re:Store Justice transitional home in Oakland shortly after his release from San Quentin.\" width=\"800\" height=\"590\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Adnan.Oakland-800x590.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Adnan.Oakland-1020x752.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Adnan.Oakland-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Adnan.Oakland-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Adnan.Oakland-1536x1133.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Adnan.Oakland.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adnan Khan stands in the Re:Store Justice transitional home in Oakland shortly after his release from San Quentin. \u003ccite>(Hope McKenney/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To the young people, I want to say that this is your time. Because more young people are starting to think like you, and are activating. Activation is physical, it’s a verb. You gotta do. Doing, not meaning talking, but going and doing. And more people are doing.\u003c/p>\n\u003cp>What country do you want to live in the next 20 years? Next 15 years? I’ve got a little boy here, and what happens in the next four to eight years is going to be his future. We can set that. You want it, it’s yours. There’s a commercial with an athlete saying that “Greatness isn’t given, it’s taken—you gotta go get it.” Don’t feel like power comes from not participating. Because once you give power away, then you let someone control you, and that’s what’s been happening forever.\u003c/p>\n\u003cp>\u003cstrong>Building off of that, after the election, no matter how it goes, what are your hopes and goals for the future of the country? \u003c/strong>\u003c/p>\n\u003cp>The most important thing to me is strategy. And as we organize and mobilize, it’s important to educate people on what to do and how to do it. A lot of people’s advocacy is what they read on the 280-character tweet. There’s a lot of people who are more interested in abolition, new systems, or whatever, that have come out in the past six or seven months than there have been in my entire life. To organize means to collect people, and then make sure the mobilizing is mobilizing toward a direction. So the next few years is going to be rooted in strategy for me.\u003c/p>\n\u003cp>If we choose to go through what we have, the democratic process, let’s start electing our own. I truly feel like, based on QAnon and all this nonsense that’s happening, this is probably the end of the Republican party. And the Democratic party is more like center-right. Meanwhile there’s this entire party that’s emerging—or has always been around, but it’s being added to, as we’re seeing across the nation—what people are calling the progressive party. There is a third party whose needs are not fully represented, whose ideas are not implemented in society. And so, that’s going to be an interesting political party. I feel like that’s going to be emerging, and fast.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Learn more about Adnan Khan’s work by visiting \u003ca href=\"https://restorecal.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Re:Store Justice\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "What's On Your Ballot?: Stephan Pastis, Cartoonist of 'Pearls Before Swine'",
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"content": "\u003cp>\u003ci>In 2020, the United States faces an election like no other. Citizens will vote in the midst of a global pandemic, severe climate change, an uprising for racial justice and an administration that has eroded the norms of democracy. In ‘\u003ca href=\"https://www.kqed.org/whats-on-your-ballot\" target=\"_blank\" rel=\"noopener noreferrer\">What’s on Your Ballot\u003c/a>,’ KQED checks in with ten different artists, activists and cultural figures about the issues on their minds and their hopes for the country.\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>o the uninitiated, \u003cem>\u003ca href=\"https://www.gocomics.com/pearlsbeforeswine\" target=\"_blank\" rel=\"noopener noreferrer\">Pearls Before Swine\u003c/a>\u003c/em> appears deceptively simple. The daily comic strip, which is penned by Santa Rosa’s Stephan Pastis and appears in more than 650 newspapers, takes place in a suburb. Its cast of characters are all named for their species: Rat, Pig, Zebra, Goat. They talk to neighbors, read the news, watch TV, and occasionally have a beer at the bar.\u003c/p>\n\u003cp>But you only need to read \u003cem>Pearls\u003c/em> for a week for the strip’s wry blend of black comedy and pathos—biting social commentary, pure tenderness and some extremely stupid puns—to worm their way into your heart. Pearls has clear spiritual ancestors in \u003cem>Peanuts\u003c/em>, \u003cem>Calvin & Hobbes\u003c/em>, and \u003cem>Bloom County\u003c/em>. But the world Pastis has created is all his own.\u003c/p>\n\u003cp>It’s also a world where politics color the characters’ lives, with real headlines seeping into the story—sometimes with a wink, but always in a way that feels natural. Pointed, never forced. It’s a dance that has occasionally landed Pastis on the wrong side of his syndicate, or of individual newspapers, which have no qualms about censoring strips that don’t meet their standards for the funny pages—in 2016, this meant nixing \u003ca href=\"https://twitter.com/stephanpastis/status/758471559950368768\" target=\"_blank\" rel=\"noopener noreferrer\">a strip that referenced NSA wiretapping and ISIS\u003c/a>. (It has also, to be fair, meant\u003ca href=\"https://twitter.com/stephanpastis/status/1058049793350524928\" target=\"_blank\" rel=\"noopener noreferrer\"> humor that would not be out of place in a 7th grade gym class\u003c/a>.)\u003c/p>\n\u003cp>Pastis spoke to me by phone in September, the day after the \u003ca href=\"https://www.kqed.org/arts/13886045/people-are-surfing-under-smoky-orange-skies-in-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">Dark Orange Sky\u003c/a>.\u003cem>—Emma Silvers\u003c/em>\u003c/p>\n\u003cp>[aside label=\"From KQED's California Voter Guide\" link1='https://www.kqed.org/voterguide/,All the State Props, All the Bay Area Measures' hero=https://ww2.kqed.org/app/uploads/2020/10/KQED-Election-2020-Aside-CA-Voter-Guide.png]\u003c/p>\n\u003cp>\u003cstrong>As we head into the election, what do you make of the political climate in the United States right now?\u003c/strong>\u003c/p>\n\u003cp>I think we’re all pretty locked in, right? Everyone is really polarized. What’s going to happen is going to happen. And I pray for this country because I’m scared. This has nothing to do with right or left. I’m scared that people don’t recognize that a democracy is fragile and that when it goes away for expediency, it really goes away. I think when you don’t read, and you’re not informed, and you don’t care, and the numbers of those people are in the majority, we’re in trouble.\u003c/p>\n\u003cp>And that goes beyond Trump. As much as people like to wave the flag, the truth is that what makes us unique is that crazy, messy democracy and our Bill of Rights. And if you don’t value it, you are going to lose it. This doesn’t feel like a Republican vs. Democrat thing. This feels like saving who we are. I hope I’m wrong, but some of the norms that we have broken, we should not have broken.\u003c/p>\n\u003cp>The demonization of journalists is especially frightening to me. Because when we don’t have Congress as a check, we have to lean more heavily on the other two branches, judiciary and journalism. The strain and pressure on those two to play catch-up has been tremendous. And that [journalists are] simultaneously being attacked is just crazy.\u003c/p>\n\u003cfigure id=\"attachment_13886591\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886591\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/D7A9709-800x533.jpg\" alt=\"Stephan Pastis draws a quick sketch at his studio on Saturday, Sept. 19, 2020. The cartoonist prefers to work on a flat surface using a short chair. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9709-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9709-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9709-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9709-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9709-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9709.jpg 1620w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephan Pastis draws a quick sketch at his studio on Saturday, Sept. 19, 2020. The cartoonist prefers to work on a flat surface using a short chair. \u003ccite>(Estefany Gonzalez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Pearls Before Swine\u003c/em> started just a couple months after 9/11, and I know you caught some flak early on for \u003ca href=\"https://www.gocomics.com/pearlsbeforeswine/2003/08/17\" target=\"_blank\" rel=\"noopener noreferrer\">criticizing then-President George W. Bush\u003c/a>. How would you describe your approach to politics in the strip?\u003c/strong>\u003c/p>\n\u003cp>When I started out, I was just a kid who didn’t know any better, so I was pretty fearless. But one thing I learned from trial and error is that when you name a party, and you’re explicit about it, you do two things. One, you set aside half your audience that day, [people] who might otherwise like you. And two, and this is the more dangerous one, you allow the audience to get a handle on you. And they should never have a handle on you.\u003c/p>\n\u003cp>To me, DeNiro was a better actor before he started doing interviews because you didn’t really know what he was like, you know? Arnold Schwarzenegger, when he’s in a movie, that comes with a lot. You go, ‘Oh, that’s Arnold Schwarzenegger.’ And I don’t think that’s good. I think you kind of want to be as invisible as possible.\u003c/p>\n\u003cp>I also think everyone is pretty much set in stone at this point—team red, team blue—so when you lead with politics now, it’s just an automatic flip of the switch. So I don’t come at it from that angle. What I’ve learned I can get away with is to come at it from a systemic angle. For example, [to call out] people not making any effort whatsoever to inform themselves.\u003c/p>\n\u003cp>\u003cstrong>So you don’t criticize Trump by name.\u003c/strong>\u003c/p>\n\u003cp>To me, Trump is not the problem. The problem is we elected him. You probably know people in your family like him. We all have that one relative like that guy. If it’s not him, it’s going to be another one of us some day.\u003c/p>\n\u003cp>So you look at what’s systemic: One [idea] I try to hit is that it is so dangerous when people get their news from social media platforms that are not vetted. [KQED] and every other responsible outlet, if you say something wrong, someone can get sued. But Facebook, when most people get their news from that, there’s no accountability, and you’re letting in all these other countries to influence your election. That’s on us. All these things you see, from people not believing climate change, to Trump, it comes from us. We caused that.\u003c/p>\n\u003cfigure id=\"attachment_13887767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887767\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/Pearls-800x390.jpg\" alt=\"'Pearls Before Swine,' July 28, 2019. \" width=\"800\" height=\"390\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Pearls-800x390.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Pearls-160x78.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Pearls-768x375.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Pearls.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Pearls Before Swine,’ July 28, 2019. \u003ccite>(Stephan Pastis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So I hit those things, and if I hit those things well, you don’t quite know which side I’m on, but it doesn’t really matter, either. Hopefully I’ve gotten you to think that you really should \u003ca href=\"https://twitter.com/stephanpastis/status/1155483860286656512\" target=\"_blank\" rel=\"noopener noreferrer\">subscribe to your local newspaper\u003c/a>. Because, for example, when the Tubbs fire hit in 2017, the \u003cem>Press Democrat\u003c/em> was all we had, and it became really critical. [The \u003cem>Press Democrat\u003c/em> subsequently \u003ca href=\"https://www.pulitzer.org/article/how-small-newspaper-took-big-fire\" target=\"_blank\" rel=\"noopener noreferrer\">won a Pulitzer\u003c/a> for its fire reporting.\u003cem>—Ed\u003c/em>.]\u003c/p>\n\u003cp>Also, on a productivity level, I just want people to talk to each other. I didn’t realize until 2016 how much of a bubble I was in. We have to listen to each other, so I don’t want to get you in a way that makes you defensive. I’d rather talk to you, because I bet there are areas we agree on. So that was an evolution for me. I was not there when I started. I was just a kid who, if I found something funny, I said it. And I suppose the strip reflects that. It changes as I change.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>How do you view your role during this time, as an artist? Do you have a responsibility to comment on what’s happening, or just to provide a moment of relief and entertainment for people? Some combination?\u003c/strong>\u003c/p>\n\u003cp>I think my duty is to make people laugh. But over the past year, for the first time in my career, I have also felt a responsibility to comfort. So I pretty much gave the strip over to Pig, who’s uniquely suited for that. He has a genuinely good heart. I feel what all of us feel, real fear and desperation. But I have this platform where I can make people feel just a little better for three seconds. So I’ve done that as much as I can.\u003c/p>\n\u003cp>Comic strip characters are in an interesting position. I sometimes equate them to this guy—there used to be this guy in our old neighborhood in North Berkeley, who would stand on his lawn and wave to everybody as they drove to work in the morning, and people loved it. And that always stuck in my head because I think that’s one of my jobs: people are getting up in the morning, they have their coffee, they have all their routines, and they want to see this person or character that makes them happy for just a second. About the same amount of time it would take you to drive past that guy. And I think, now more than ever, that’s my job, because the need for it is really huge.\u003c/p>\n\u003cfigure id=\"attachment_13886592\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886592\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/D7A9713-800x533.jpg\" alt=\"Stephan Pastis flips through his book ‘Pearls Goes Hollywood.’ Pastis says he enjoyed making small nod at Santa Rosa in the book’s pull-out poster. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9713-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9713-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9713-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9713-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9713-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9713.jpg 1620w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephan Pastis flips through his book ‘Pearls Goes Hollywood.’ Pastis says he enjoyed making small nod at Santa Rosa in the book’s pull-out poster. \u003ccite>(Estefany Gonzalez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Are there any local measures, or issues that aren’t necessarily giant national talking points, that you’re particularly invested in?\u003c/strong>\u003c/p>\n\u003cp>Well, our local one\u003cem> is\u003c/em> giant, which is that if you don’t believe climate change is real, the past week has taught you that. It is so frightening what we’re experiencing. There was a moment during the lightning storms in August where a breeze blew through our house that was \u003cem>so hot\u003c/em>, it was unlike anything I’d ever felt before.\u003c/p>\n\u003cp>Nobody else, no other countries are debating climate change. It would be like fighting about oxygen and whether it’s necessary. Or masks! How do you debate masks?! What do you do if someone walks up to you and says “Yeah, gravity, people say it’s there, I don’t know…” \u003cem>What do you do?\u003c/em> Like, even if everyone was wrong about [fossil fuels and pollution causing] climate change, wouldn’t you like to live in a world where you could breathe the air, where there wasn’t the chance of an Exxon Valdez [oil spill]?. This stuff drives me nuts.\u003c/p>\n\u003cp>Some things do encourage me. The younger generation encourages me. This stuff with the NBA and activism [protesting police brutality] encourages me. There was this great, challenging bit that I think about a lot from Dave Chapelle, who I think might be a prophet. He explained that he saw the election of Trump as Emmett Till—a horrible tragedy that ultimately lets everyone see the face of this thing, and that it’s around you. And that once you can see it, and acknowledge its presence, then we can start to deal with it. I thought that was really prescient and really smart. A light got shone, and everyone got to see what, of course, lots of people have already been talking about for years.\u003c/p>\n\u003cfigure id=\"attachment_13887768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887768\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/Pearls5.23-800x390.jpg\" alt=\"'Pearls Before Swine,' May 23, 2020.\" width=\"800\" height=\"390\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Pearls5.23-800x390.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Pearls5.23-160x78.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Pearls5.23-768x375.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Pearls5.23.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Pearls Before Swine,’ May 23, 2020. \u003ccite>(Stephan Pastis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>After the election—no matter how it goes—what are your hopes and goals for the country, and for the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>That we are engaged, and that we see our responsibility to support some form of local journalism, because without it we will feel the pain. And maybe we get a little less materialistic while we’re at it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Stay up on ‘Pearls Before Swine’ \u003ca href=\"https://www.gocomics.com/pearlsbeforeswine\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>, or on \u003ca href=\"https://twitter.com/stephanpastis?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">Stephan Pastis’ Twitter\u003c/a>. And, if you’re a ‘Calvin & Hobbes’ fan, be sure to read Pastis’ story of \u003ca href=\"https://stephanpastis.wordpress.com/2014/06/07/ever-wished-that-calvin-and-hobbes-creator-bill-watterson-would-return-to-the-comics-page-well-he-just-did/\" target=\"_blank\" rel=\"noopener noreferrer\">secretly collaborating with Bill Watterson\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "The Santa Rosa-based cartoonist says the problem isn't Donald Trump: 'The problem is we elected him.'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>In 2020, the United States faces an election like no other. Citizens will vote in the midst of a global pandemic, severe climate change, an uprising for racial justice and an administration that has eroded the norms of democracy. In ‘\u003ca href=\"https://www.kqed.org/whats-on-your-ballot\" target=\"_blank\" rel=\"noopener noreferrer\">What’s on Your Ballot\u003c/a>,’ KQED checks in with ten different artists, activists and cultural figures about the issues on their minds and their hopes for the country.\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>o the uninitiated, \u003cem>\u003ca href=\"https://www.gocomics.com/pearlsbeforeswine\" target=\"_blank\" rel=\"noopener noreferrer\">Pearls Before Swine\u003c/a>\u003c/em> appears deceptively simple. The daily comic strip, which is penned by Santa Rosa’s Stephan Pastis and appears in more than 650 newspapers, takes place in a suburb. Its cast of characters are all named for their species: Rat, Pig, Zebra, Goat. They talk to neighbors, read the news, watch TV, and occasionally have a beer at the bar.\u003c/p>\n\u003cp>But you only need to read \u003cem>Pearls\u003c/em> for a week for the strip’s wry blend of black comedy and pathos—biting social commentary, pure tenderness and some extremely stupid puns—to worm their way into your heart. Pearls has clear spiritual ancestors in \u003cem>Peanuts\u003c/em>, \u003cem>Calvin & Hobbes\u003c/em>, and \u003cem>Bloom County\u003c/em>. But the world Pastis has created is all his own.\u003c/p>\n\u003cp>It’s also a world where politics color the characters’ lives, with real headlines seeping into the story—sometimes with a wink, but always in a way that feels natural. Pointed, never forced. It’s a dance that has occasionally landed Pastis on the wrong side of his syndicate, or of individual newspapers, which have no qualms about censoring strips that don’t meet their standards for the funny pages—in 2016, this meant nixing \u003ca href=\"https://twitter.com/stephanpastis/status/758471559950368768\" target=\"_blank\" rel=\"noopener noreferrer\">a strip that referenced NSA wiretapping and ISIS\u003c/a>. (It has also, to be fair, meant\u003ca href=\"https://twitter.com/stephanpastis/status/1058049793350524928\" target=\"_blank\" rel=\"noopener noreferrer\"> humor that would not be out of place in a 7th grade gym class\u003c/a>.)\u003c/p>\n\u003cp>Pastis spoke to me by phone in September, the day after the \u003ca href=\"https://www.kqed.org/arts/13886045/people-are-surfing-under-smoky-orange-skies-in-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">Dark Orange Sky\u003c/a>.\u003cem>—Emma Silvers\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>As we head into the election, what do you make of the political climate in the United States right now?\u003c/strong>\u003c/p>\n\u003cp>I think we’re all pretty locked in, right? Everyone is really polarized. What’s going to happen is going to happen. And I pray for this country because I’m scared. This has nothing to do with right or left. I’m scared that people don’t recognize that a democracy is fragile and that when it goes away for expediency, it really goes away. I think when you don’t read, and you’re not informed, and you don’t care, and the numbers of those people are in the majority, we’re in trouble.\u003c/p>\n\u003cp>And that goes beyond Trump. As much as people like to wave the flag, the truth is that what makes us unique is that crazy, messy democracy and our Bill of Rights. And if you don’t value it, you are going to lose it. This doesn’t feel like a Republican vs. Democrat thing. This feels like saving who we are. I hope I’m wrong, but some of the norms that we have broken, we should not have broken.\u003c/p>\n\u003cp>The demonization of journalists is especially frightening to me. Because when we don’t have Congress as a check, we have to lean more heavily on the other two branches, judiciary and journalism. The strain and pressure on those two to play catch-up has been tremendous. And that [journalists are] simultaneously being attacked is just crazy.\u003c/p>\n\u003cfigure id=\"attachment_13886591\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886591\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/D7A9709-800x533.jpg\" alt=\"Stephan Pastis draws a quick sketch at his studio on Saturday, Sept. 19, 2020. The cartoonist prefers to work on a flat surface using a short chair. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9709-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9709-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9709-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9709-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9709-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9709.jpg 1620w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephan Pastis draws a quick sketch at his studio on Saturday, Sept. 19, 2020. The cartoonist prefers to work on a flat surface using a short chair. \u003ccite>(Estefany Gonzalez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cem>Pearls Before Swine\u003c/em> started just a couple months after 9/11, and I know you caught some flak early on for \u003ca href=\"https://www.gocomics.com/pearlsbeforeswine/2003/08/17\" target=\"_blank\" rel=\"noopener noreferrer\">criticizing then-President George W. Bush\u003c/a>. How would you describe your approach to politics in the strip?\u003c/strong>\u003c/p>\n\u003cp>When I started out, I was just a kid who didn’t know any better, so I was pretty fearless. But one thing I learned from trial and error is that when you name a party, and you’re explicit about it, you do two things. One, you set aside half your audience that day, [people] who might otherwise like you. And two, and this is the more dangerous one, you allow the audience to get a handle on you. And they should never have a handle on you.\u003c/p>\n\u003cp>To me, DeNiro was a better actor before he started doing interviews because you didn’t really know what he was like, you know? Arnold Schwarzenegger, when he’s in a movie, that comes with a lot. You go, ‘Oh, that’s Arnold Schwarzenegger.’ And I don’t think that’s good. I think you kind of want to be as invisible as possible.\u003c/p>\n\u003cp>I also think everyone is pretty much set in stone at this point—team red, team blue—so when you lead with politics now, it’s just an automatic flip of the switch. So I don’t come at it from that angle. What I’ve learned I can get away with is to come at it from a systemic angle. For example, [to call out] people not making any effort whatsoever to inform themselves.\u003c/p>\n\u003cp>\u003cstrong>So you don’t criticize Trump by name.\u003c/strong>\u003c/p>\n\u003cp>To me, Trump is not the problem. The problem is we elected him. You probably know people in your family like him. We all have that one relative like that guy. If it’s not him, it’s going to be another one of us some day.\u003c/p>\n\u003cp>So you look at what’s systemic: One [idea] I try to hit is that it is so dangerous when people get their news from social media platforms that are not vetted. [KQED] and every other responsible outlet, if you say something wrong, someone can get sued. But Facebook, when most people get their news from that, there’s no accountability, and you’re letting in all these other countries to influence your election. That’s on us. All these things you see, from people not believing climate change, to Trump, it comes from us. We caused that.\u003c/p>\n\u003cfigure id=\"attachment_13887767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887767\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/Pearls-800x390.jpg\" alt=\"'Pearls Before Swine,' July 28, 2019. \" width=\"800\" height=\"390\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Pearls-800x390.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Pearls-160x78.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Pearls-768x375.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Pearls.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Pearls Before Swine,’ July 28, 2019. \u003ccite>(Stephan Pastis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So I hit those things, and if I hit those things well, you don’t quite know which side I’m on, but it doesn’t really matter, either. Hopefully I’ve gotten you to think that you really should \u003ca href=\"https://twitter.com/stephanpastis/status/1155483860286656512\" target=\"_blank\" rel=\"noopener noreferrer\">subscribe to your local newspaper\u003c/a>. Because, for example, when the Tubbs fire hit in 2017, the \u003cem>Press Democrat\u003c/em> was all we had, and it became really critical. [The \u003cem>Press Democrat\u003c/em> subsequently \u003ca href=\"https://www.pulitzer.org/article/how-small-newspaper-took-big-fire\" target=\"_blank\" rel=\"noopener noreferrer\">won a Pulitzer\u003c/a> for its fire reporting.\u003cem>—Ed\u003c/em>.]\u003c/p>\n\u003cp>Also, on a productivity level, I just want people to talk to each other. I didn’t realize until 2016 how much of a bubble I was in. We have to listen to each other, so I don’t want to get you in a way that makes you defensive. I’d rather talk to you, because I bet there are areas we agree on. So that was an evolution for me. I was not there when I started. I was just a kid who, if I found something funny, I said it. And I suppose the strip reflects that. It changes as I change.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>How do you view your role during this time, as an artist? Do you have a responsibility to comment on what’s happening, or just to provide a moment of relief and entertainment for people? Some combination?\u003c/strong>\u003c/p>\n\u003cp>I think my duty is to make people laugh. But over the past year, for the first time in my career, I have also felt a responsibility to comfort. So I pretty much gave the strip over to Pig, who’s uniquely suited for that. He has a genuinely good heart. I feel what all of us feel, real fear and desperation. But I have this platform where I can make people feel just a little better for three seconds. So I’ve done that as much as I can.\u003c/p>\n\u003cp>Comic strip characters are in an interesting position. I sometimes equate them to this guy—there used to be this guy in our old neighborhood in North Berkeley, who would stand on his lawn and wave to everybody as they drove to work in the morning, and people loved it. And that always stuck in my head because I think that’s one of my jobs: people are getting up in the morning, they have their coffee, they have all their routines, and they want to see this person or character that makes them happy for just a second. About the same amount of time it would take you to drive past that guy. And I think, now more than ever, that’s my job, because the need for it is really huge.\u003c/p>\n\u003cfigure id=\"attachment_13886592\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886592\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/D7A9713-800x533.jpg\" alt=\"Stephan Pastis flips through his book ‘Pearls Goes Hollywood.’ Pastis says he enjoyed making small nod at Santa Rosa in the book’s pull-out poster. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9713-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9713-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9713-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9713-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9713-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9713.jpg 1620w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stephan Pastis flips through his book ‘Pearls Goes Hollywood.’ Pastis says he enjoyed making small nod at Santa Rosa in the book’s pull-out poster. \u003ccite>(Estefany Gonzalez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Are there any local measures, or issues that aren’t necessarily giant national talking points, that you’re particularly invested in?\u003c/strong>\u003c/p>\n\u003cp>Well, our local one\u003cem> is\u003c/em> giant, which is that if you don’t believe climate change is real, the past week has taught you that. It is so frightening what we’re experiencing. There was a moment during the lightning storms in August where a breeze blew through our house that was \u003cem>so hot\u003c/em>, it was unlike anything I’d ever felt before.\u003c/p>\n\u003cp>Nobody else, no other countries are debating climate change. It would be like fighting about oxygen and whether it’s necessary. Or masks! How do you debate masks?! What do you do if someone walks up to you and says “Yeah, gravity, people say it’s there, I don’t know…” \u003cem>What do you do?\u003c/em> Like, even if everyone was wrong about [fossil fuels and pollution causing] climate change, wouldn’t you like to live in a world where you could breathe the air, where there wasn’t the chance of an Exxon Valdez [oil spill]?. This stuff drives me nuts.\u003c/p>\n\u003cp>Some things do encourage me. The younger generation encourages me. This stuff with the NBA and activism [protesting police brutality] encourages me. There was this great, challenging bit that I think about a lot from Dave Chapelle, who I think might be a prophet. He explained that he saw the election of Trump as Emmett Till—a horrible tragedy that ultimately lets everyone see the face of this thing, and that it’s around you. And that once you can see it, and acknowledge its presence, then we can start to deal with it. I thought that was really prescient and really smart. A light got shone, and everyone got to see what, of course, lots of people have already been talking about for years.\u003c/p>\n\u003cfigure id=\"attachment_13887768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887768\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/Pearls5.23-800x390.jpg\" alt=\"'Pearls Before Swine,' May 23, 2020.\" width=\"800\" height=\"390\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Pearls5.23-800x390.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Pearls5.23-160x78.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Pearls5.23-768x375.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Pearls5.23.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Pearls Before Swine,’ May 23, 2020. \u003ccite>(Stephan Pastis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>After the election—no matter how it goes—what are your hopes and goals for the country, and for the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>That we are engaged, and that we see our responsibility to support some form of local journalism, because without it we will feel the pain. And maybe we get a little less materialistic while we’re at it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Stay up on ‘Pearls Before Swine’ \u003ca href=\"https://www.gocomics.com/pearlsbeforeswine\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>, or on \u003ca href=\"https://twitter.com/stephanpastis?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">Stephan Pastis’ Twitter\u003c/a>. And, if you’re a ‘Calvin & Hobbes’ fan, be sure to read Pastis’ story of \u003ca href=\"https://stephanpastis.wordpress.com/2014/06/07/ever-wished-that-calvin-and-hobbes-creator-bill-watterson-would-return-to-the-comics-page-well-he-just-did/\" target=\"_blank\" rel=\"noopener noreferrer\">secretly collaborating with Bill Watterson\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Drive-In Shows With Thundercat, Major Lazer Boost Bay Area Concert Scene",
"headTitle": "Drive-In Shows With Thundercat, Major Lazer Boost Bay Area Concert Scene | KQED",
"content": "\u003cp>When the Bay Area began sheltering in place in March, Robbie Kowal of \u003ca href=\"https://www.hushconcerts.com/\" target=\"_blank\" rel=\"noopener noreferrer\">HUSHconcerts\u003c/a> was looking at a complete drop off in business. His company puts on thousands of silent disco events a year for music festivals, private parties and business conferences, and suddenly those were off the table indefinitely.\u003c/p>\n\u003cp>“We have no events, so there’s no industry. It’s tough, really tough,” he \u003ca href=\"https://www.kqed.org/arts/13876314/coronavirus-cancelations-threaten-livelihoods-of-independent-artists\" target=\"_blank\" rel=\"noopener noreferrer\">said at the time\u003c/a>.\u003c/p>\n\u003cp>It turns out that Kowal’s expertise in sound engineering for wireless headphones and other unconventional setups was a saving grace for his business. In addition to doing sound via headphones for socially distanced weddings and SoulCycle classes, he’s producing drive-in concerts with promoter \u003ca href=\"https://www.iwannahotbox.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hotbox\u003c/a> at Burlingame’s \u003ca href=\"http://www.bayshoredrivein.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bayshore Drive-In\u003c/a>, a golf course-turned-concert venue in the South Bay.\u003c/p>\n\u003cp>Drive-in concerts popped up in the Bay Area earlier this year, with Jerry Garcia tribute band Jerry’s Middle Finger entertaining car-bound crowds at Solano County Fairgrounds in July; additionally, ZZ Top, Van Halen and Tom Petty tribute bands rocked out at the Alameda County Fairgrounds, and Metallica broadcast a pre-taped show. But the Bayshore Drive-In shows are the first to target a young audience, with local nightlife outfits \u003ca href=\"http://1015.com/\" target=\"_blank\" rel=\"noopener noreferrer\">1015 Folsom\u003c/a> and \u003ca href=\"http://noisepop.com\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop\u003c/a> coming on as co-presenters.\u003c/p>\n\u003cp>Bassist, singer and Kendrick Lamar collaborator \u003ca href=\"http://www.bayshoredrivein.com/event/thundercat-live/\" target=\"_blank\" rel=\"noopener noreferrer\">Thundercat\u003c/a> performs live at the Bayshore Drive-In on Oct. 22; Diplo-assisted, globally inspired EDM crew \u003ca href=\"http://www.bayshoredrivein.com/event/major-lazer/\" target=\"_blank\" rel=\"noopener noreferrer\">Major Lazer\u003c/a> plays on Oct. 24; \u003ca href=\"http://www.bayshoredrivein.com/event/shiba-san-j-phlip-dirtybird/\" target=\"_blank\" rel=\"noopener noreferrer\">Shiba San and J.Phlip\u003c/a> from house music label \u003ca href=\"https://www.kqed.org/arts/13874615/how-sfs-dirtybird-grew-from-outsider-party-to-beloved-house-music-label\" target=\"_blank\" rel=\"noopener noreferrer\">Dirtybird Records\u003c/a> spin on Oct. 23. \u003ca href=\"http://www.bayshoredrivein.com/event/pink-martini-live/\" target=\"_blank\" rel=\"noopener noreferrer\">Pink Martini\u003c/a> brings multi-lingual lounge and jazz on Oct. 25; \u003ca href=\"http://www.bayshoredrivein.com/event/colors-worldwide-presents-rb-only-drive-in/\" target=\"_blank\" rel=\"noopener noreferrer\">Colors Worldwide\u003c/a> DJs play R&B for the lovers out there on Oct. 29. And viral sensation \u003ca href=\"http://www.bayshoredrivein.com/event/marc-rebillet-2/\" target=\"_blank\" rel=\"noopener noreferrer\">Marc Rebillet\u003c/a> performs his cheeky production wizardry on Halloween night and Nov. 1.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Drive-in concerts are new territory for Bay Area event producers. In addition to the typical costs of paying the talent, crew and security and setting up a stage and amplified sound, there’s also the work that goes into mapping out the Bayshore Drive-In to fit dozens of cars, have them enter and exit in a timely fashion and allow for social distancing. Not to mention that the way you hear the music from inside your car is going to be different than if you were standing in the audience, so HUSHconcerts is doing both amplified sound and an FM broadcast.\u003c/p>\n\u003cp>\u003cspan class=\"s1\">“It’s a pretty ambitious undertaking, what we’re trying to pull off out there,” Kowal says. “But I think we’re well positioned to make it successful.”\u003c/span>\u003c/p>\n\u003cp>Ticketing at drive-in concerts is also different, with the prices ranging from $89-$349 per four-passenger car, depending on the show. That might sound steep, but because of the extra costs of producing a pandemic-safe event, Kowal says that the promoters are barely making a profit.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“If this was strictly a business-model thing, I don’t think we’d be doing these shows. We’re doing them because we want our community to be able to get together again, and to put our production experts back to work,” he explains. [aside postid='arts_13886812,arts_13883952,arts_13887455,arts_13887215' label='More on the State of Concerts']\u003c/span>\u003c/p>\n\u003cp>It’s well documented that government relief for the concert industry has been scant. The \u003ca href=\"https://www.kqed.org/arts/13883952/three-congressional-bills-could-help-save-independent-music-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Save Our Stages Act\u003c/a> to help venues still awaits a congressional vote, many musicians haven’t qualified for unemployment and \u003ca href=\"https://www.kqed.org/arts/13886812/san-francisco-expands-reopening-with-outdoor-live-music-and-other-entertainment\" target=\"_blank\" rel=\"noopener noreferrer\">outdoor entertainment\u003c/a> is only starting up on a small scale in cities like San Francisco. HUSHconcerts qualified for a Paycheck Protection Program loan, which carried the company through the summer months, and now Kowal says that he and his industry peers are eager to find pandemic-safe solutions until the events industry can safely resume.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“What it seems to me is making a safe event is super expensive and super risky. Even if your show does well but people get sick, that’s not successful. And if you show \u003cem>doesn’t\u003c/em> do well, that’s not successful either,” he says. “We’ve had to redefine what success is.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“You put some people to work, you made some people smile and no one got sick—that’s a massive win.”\u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the Bay Area began sheltering in place in March, Robbie Kowal of \u003ca href=\"https://www.hushconcerts.com/\" target=\"_blank\" rel=\"noopener noreferrer\">HUSHconcerts\u003c/a> was looking at a complete drop off in business. His company puts on thousands of silent disco events a year for music festivals, private parties and business conferences, and suddenly those were off the table indefinitely.\u003c/p>\n\u003cp>“We have no events, so there’s no industry. It’s tough, really tough,” he \u003ca href=\"https://www.kqed.org/arts/13876314/coronavirus-cancelations-threaten-livelihoods-of-independent-artists\" target=\"_blank\" rel=\"noopener noreferrer\">said at the time\u003c/a>.\u003c/p>\n\u003cp>It turns out that Kowal’s expertise in sound engineering for wireless headphones and other unconventional setups was a saving grace for his business. In addition to doing sound via headphones for socially distanced weddings and SoulCycle classes, he’s producing drive-in concerts with promoter \u003ca href=\"https://www.iwannahotbox.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hotbox\u003c/a> at Burlingame’s \u003ca href=\"http://www.bayshoredrivein.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bayshore Drive-In\u003c/a>, a golf course-turned-concert venue in the South Bay.\u003c/p>\n\u003cp>Drive-in concerts popped up in the Bay Area earlier this year, with Jerry Garcia tribute band Jerry’s Middle Finger entertaining car-bound crowds at Solano County Fairgrounds in July; additionally, ZZ Top, Van Halen and Tom Petty tribute bands rocked out at the Alameda County Fairgrounds, and Metallica broadcast a pre-taped show. But the Bayshore Drive-In shows are the first to target a young audience, with local nightlife outfits \u003ca href=\"http://1015.com/\" target=\"_blank\" rel=\"noopener noreferrer\">1015 Folsom\u003c/a> and \u003ca href=\"http://noisepop.com\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop\u003c/a> coming on as co-presenters.\u003c/p>\n\u003cp>Bassist, singer and Kendrick Lamar collaborator \u003ca href=\"http://www.bayshoredrivein.com/event/thundercat-live/\" target=\"_blank\" rel=\"noopener noreferrer\">Thundercat\u003c/a> performs live at the Bayshore Drive-In on Oct. 22; Diplo-assisted, globally inspired EDM crew \u003ca href=\"http://www.bayshoredrivein.com/event/major-lazer/\" target=\"_blank\" rel=\"noopener noreferrer\">Major Lazer\u003c/a> plays on Oct. 24; \u003ca href=\"http://www.bayshoredrivein.com/event/shiba-san-j-phlip-dirtybird/\" target=\"_blank\" rel=\"noopener noreferrer\">Shiba San and J.Phlip\u003c/a> from house music label \u003ca href=\"https://www.kqed.org/arts/13874615/how-sfs-dirtybird-grew-from-outsider-party-to-beloved-house-music-label\" target=\"_blank\" rel=\"noopener noreferrer\">Dirtybird Records\u003c/a> spin on Oct. 23. \u003ca href=\"http://www.bayshoredrivein.com/event/pink-martini-live/\" target=\"_blank\" rel=\"noopener noreferrer\">Pink Martini\u003c/a> brings multi-lingual lounge and jazz on Oct. 25; \u003ca href=\"http://www.bayshoredrivein.com/event/colors-worldwide-presents-rb-only-drive-in/\" target=\"_blank\" rel=\"noopener noreferrer\">Colors Worldwide\u003c/a> DJs play R&B for the lovers out there on Oct. 29. And viral sensation \u003ca href=\"http://www.bayshoredrivein.com/event/marc-rebillet-2/\" target=\"_blank\" rel=\"noopener noreferrer\">Marc Rebillet\u003c/a> performs his cheeky production wizardry on Halloween night and Nov. 1.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Drive-in concerts are new territory for Bay Area event producers. In addition to the typical costs of paying the talent, crew and security and setting up a stage and amplified sound, there’s also the work that goes into mapping out the Bayshore Drive-In to fit dozens of cars, have them enter and exit in a timely fashion and allow for social distancing. Not to mention that the way you hear the music from inside your car is going to be different than if you were standing in the audience, so HUSHconcerts is doing both amplified sound and an FM broadcast.\u003c/p>\n\u003cp>\u003cspan class=\"s1\">“It’s a pretty ambitious undertaking, what we’re trying to pull off out there,” Kowal says. “But I think we’re well positioned to make it successful.”\u003c/span>\u003c/p>\n\u003cp>Ticketing at drive-in concerts is also different, with the prices ranging from $89-$349 per four-passenger car, depending on the show. That might sound steep, but because of the extra costs of producing a pandemic-safe event, Kowal says that the promoters are barely making a profit.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“If this was strictly a business-model thing, I don’t think we’d be doing these shows. We’re doing them because we want our community to be able to get together again, and to put our production experts back to work,” he explains. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>It’s well documented that government relief for the concert industry has been scant. The \u003ca href=\"https://www.kqed.org/arts/13883952/three-congressional-bills-could-help-save-independent-music-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Save Our Stages Act\u003c/a> to help venues still awaits a congressional vote, many musicians haven’t qualified for unemployment and \u003ca href=\"https://www.kqed.org/arts/13886812/san-francisco-expands-reopening-with-outdoor-live-music-and-other-entertainment\" target=\"_blank\" rel=\"noopener noreferrer\">outdoor entertainment\u003c/a> is only starting up on a small scale in cities like San Francisco. HUSHconcerts qualified for a Paycheck Protection Program loan, which carried the company through the summer months, and now Kowal says that he and his industry peers are eager to find pandemic-safe solutions until the events industry can safely resume.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“What it seems to me is making a safe event is super expensive and super risky. Even if your show does well but people get sick, that’s not successful. And if you show \u003cem>doesn’t\u003c/em> do well, that’s not successful either,” he says. “We’ve had to redefine what success is.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“You put some people to work, you made some people smile and no one got sick—that’s a massive win.”\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>In 2020, the United States faces an election like no other. Citizens will vote in the midst of a global pandemic, severe climate change, an uprising for racial justice and an administration that has eroded the norms of democracy. In ‘\u003ca href=\"https://www.kqed.org/arts/tag/whats-on-your-ballot\" target=\"_blank\" rel=\"noopener noreferrer\">What’s on Your Ballot?\u003c/a>,’ KQED checks in with ten different artists, activists and cultural figures about the issues on their minds and their hopes for the country.\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">C\u003c/span>onsidering its vast resources and highly educated population, Silicon Valley has surprisingly thin soil when it comes to building and sustaining cultural institutions. That’s never daunted Usha Srinivasan, the co-founder and president of \u003ca href=\"https://sangamarts.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Sangam Arts\u003c/a>, the Saratoga-based non-profit that seeks to create and nurture connections between the Valley’s different cultures using traditional arts as a vehicle. One of the region’s visionary arts leaders, she promotes an embracing concept of American citizenship that celebrates ancestral ties while forging new identities via shared creative experiences.\u003c/p>\n\u003cp>Born and raised in the Southern Indian city of Hyderabad, Srinivasan came to the United States in 1990 for a graduate degree in electrical engineering and moved to the Bay Area in 1995 to attend Stanford Business School. After years working in high tech, she launched Sangam Arts in 2013 with Priya Das to present classical Indian dance. The organization has evolved into an innovative, award-winning arts presenters with the Mosaic Silicon Valley program, which seeks to foster cross-cultural conversations by combining a diverse array of ethnic art forms in multimedia productions.\u003cem>—Andrew Gilbert\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>As we head into the election, what do you make of the political climate in America today?\u003c/strong>\u003c/p>\n\u003cp>This is a very important election, kind of a defining moment in our history. The outcome will really determine the quality of life for Americans and the nature of American society going forward, and whether all of us feel we belong or not. I don’t think most people really thought we’d find ourselves at this turn. We thought a lot of the battles that had to do with race and inclusion were in the past. We thought we were post-racial. And we found out that there’s a lot more healing to be done and many more issues to be addressed. And now that we know that we have a choice, do we address that in a way that really reflects our core American values? Or do we want to veer off and become a fascist society?\u003c/p>\n\u003cfigure id=\"attachment_13887200\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887200\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/D7A9925.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9925.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9925-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9925-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Usha Srinivasan: ‘The outcome [of the election] will really determine the quality of life for Americans and the nature of American society going forward, and whether all of us feel we belong or not.’ \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>With the tremendous power and influence of social media, Silicon Valley has become a focus in this election. As an artist and someone deeply involved in promoting women in STEM fields, how do you weigh and balance the impact of companies like Facebook and Twitter on American politics? \u003c/strong>\u003c/p>\n\u003cp>I think for most of us social media has turned out to be like boiling the frog. Most of us didn’t quite realize the detrimental effects of handing this kind of power to these networks. Now we find ourselves in this bind where it’s very difficult to disconnect because that is our interaction with this world, whether we like it or not. In my work in the arts it’s almost impossible for a small organization to find an audience the traditional way, with fliers or ads. We’ve all found ourselves deeply entrenched in social networks, and we’re finding out that the technology is far ahead of our ability as social animals to adapt. [aside label=\"From KQED's California Voter Guide\" link1='https://www.kqed.org/voterguide/,All the State Props, All the Bay Area Measures' hero=https://ww2.kqed.org/app/uploads/2020/10/KQED-Election-2020-Aside-CA-Voter-Guide.png]\u003c/p>\n\u003cp>For example, being able to tell truth from fiction. People look at what’s happening online and assume they are real and true which leaves us vulnerable to manipulation by bad actors. We literally are not equipped to handle this as a society.\u003c/p>\n\u003cp>\u003cstrong>What response have you seen from the Desi community regarding Kamala Harris as Joe Biden’s running mate?\u003c/strong>\u003c/p>\n\u003cp>It was absolute exuberance. The South Asian community overall is very diverse, but I come from a Tamil family and that picture of Kamala Harris with her sister and grandparents could easily have come from my family photo album. You feel this kinship. She used this word ‘\u003ca href=\"https://www.washingtonpost.com/nation/2020/08/20/chittis-kamala-harris-dnc-tamil/\" rel=\"noopener noreferrer\" target=\"_blank\">chittis\u003c/a>,’ which, very specifically in my mother tongue of Tamil, means a mother’s younger sister or a father’s younger brother’s wife. Chitti is like a little mom. We were all raised in families with big moms and little moms, big dads and little dads. We’re were raised by a village, and we all had a throwback to our younger days. That one word she uttered about family instantly made an entire generation of Indian American women not only feel connected to her, but that we belonged here in America. So she has not only made us proud, but she’s made us feel like we too belong.\u003c/p>\n\u003cp>\u003cstrong>What performances or works of art have you seen in the last four years that capture this surreal moment or respond effectively to what’s going on in the country? \u003c/strong>\u003c/p>\n\u003cp>When I came here to go to business school in ’95, Silicon Valley was still two-thirds white, and the rest Hispanic, Asian and others. In the intervening 25 years, we have gone through enormous demographic changes in a very short period of time. The performances that are most compelling to me are the ones that reflect this changing community. One of the issues I grapple with is the lack of social cohesion in Silicon Valley. Even as we become more diverse, we are less integrated. You have entire communities that are quite content to live in their own silos. That represents a missed opportunity to express the true potential of America.\u003c/p>\n\u003cfigure id=\"attachment_13887205\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887205\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/D7A9936.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9936.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9936-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9936-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Usha Srinivasan: ‘[Kamala Harris] has not only made us proud, but she’s made us feel like we too belong.’ \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The way to break that down is through the arts, because art offers a universal language. For me the most compelling works of art are those that help bring both artists and disciplines from different communities together as a way of bringing audiences from those different cultures together. What creates bonds are shared experiences, as well as a shared understanding of history and a shared vision of the future.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now in Silicon Valley, 40 to 50 percent of people came from elsewhere, so they don’t have a shared understanding of history. People like me didn’t need to take a history exam to become a citizen. I had to take a civics exam. A lot of us didn’t know about the Ohlone or know about slavery. And then there are the latest stats that say for various reasons—transportation, cost of living—40 to 50 percent don’t see themselves living here 20 or 30 years, including people who were born and raised here.\u003c/p>\n\u003cp>You don’t share a past. You don’t see a future together. How do you build community? I think the arts provide a great way of creating those shared experiences.\u003c/p>\n\u003cp>\u003cstrong>After the election—no matter how it goes—what are your hopes and goals for the country, and for the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>Obviously I am an ultra-progressive liberal and I have come to realize that I have taken so much for granted. I’m in the process of examining my own privileges as an Indian American. I may look like a person of color, but the truth is, at this time here and given my background, I have all the privileges of my white brothers and sisters. I’m not saying that’s true of everyone. In the wake of Black Lives Matter and George Floyd, I’m realizing how broken the system is and how much work remains to be done. My hope is, inshallah, the Democrats win, but I hope we hold their feet to the fire and realize there’s a lot of work to be done. We can’t just tap into the Black vote, especially Black women, to help our candidates win and then forget them. We need to be just as vocal as we are against Trump in terms of systemic injustice, voter suppression and inequality.\u003c/p>\n\u003cfigure id=\"attachment_13887196\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13887196 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/D7A9906.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9906.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9906-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9906-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Usha Srinivasan: ‘We thought a lot of the battles that had to do with race and inclusion were in the past. … And we found out that there’s a lot more healing to be done and many more issues to be addressed.’ \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I’m hoping now that we’ve come so close to the brink, hopefully we’ll be more thoughtful and go back and make sure we never make these mistakes again. In the United States, it’s an idealistic country and a lot of systems are designed to rely on the honor code. And when you have dishonorable people taking advantage of the system, the system breaks down.\u003c/p>\n\u003cp>I’m hoping I can rededicate my life to being a powerful ally for those who have been left behind. It bothers me so much that the top billionaires have made a trillion dollars during the pandemic. It bothers me so much that I live in Saratoga where we want for nothing, but the people that tend to our lawns and watch our kids and clean our homes are living three to four families in one house 10 miles from here.\u003c/p>\n\u003cp>It’s immoral, and unsustainable, and not the way to build a harmonious society. I’m hoping that we’ll take a moment to celebrate, but regardless of what happens we have to fight.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>This interview was edited for length and clarity. Learn more about Usha Srinivasan \u003ca href=\"https://sangamarts.org/about/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>In 2020, the United States faces an election like no other. Citizens will vote in the midst of a global pandemic, severe climate change, an uprising for racial justice and an administration that has eroded the norms of democracy. In ‘\u003ca href=\"https://www.kqed.org/arts/tag/whats-on-your-ballot\" target=\"_blank\" rel=\"noopener noreferrer\">What’s on Your Ballot?\u003c/a>,’ KQED checks in with ten different artists, activists and cultural figures about the issues on their minds and their hopes for the country.\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">C\u003c/span>onsidering its vast resources and highly educated population, Silicon Valley has surprisingly thin soil when it comes to building and sustaining cultural institutions. That’s never daunted Usha Srinivasan, the co-founder and president of \u003ca href=\"https://sangamarts.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Sangam Arts\u003c/a>, the Saratoga-based non-profit that seeks to create and nurture connections between the Valley’s different cultures using traditional arts as a vehicle. One of the region’s visionary arts leaders, she promotes an embracing concept of American citizenship that celebrates ancestral ties while forging new identities via shared creative experiences.\u003c/p>\n\u003cp>Born and raised in the Southern Indian city of Hyderabad, Srinivasan came to the United States in 1990 for a graduate degree in electrical engineering and moved to the Bay Area in 1995 to attend Stanford Business School. After years working in high tech, she launched Sangam Arts in 2013 with Priya Das to present classical Indian dance. The organization has evolved into an innovative, award-winning arts presenters with the Mosaic Silicon Valley program, which seeks to foster cross-cultural conversations by combining a diverse array of ethnic art forms in multimedia productions.\u003cem>—Andrew Gilbert\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>As we head into the election, what do you make of the political climate in America today?\u003c/strong>\u003c/p>\n\u003cp>This is a very important election, kind of a defining moment in our history. The outcome will really determine the quality of life for Americans and the nature of American society going forward, and whether all of us feel we belong or not. I don’t think most people really thought we’d find ourselves at this turn. We thought a lot of the battles that had to do with race and inclusion were in the past. We thought we were post-racial. And we found out that there’s a lot more healing to be done and many more issues to be addressed. And now that we know that we have a choice, do we address that in a way that really reflects our core American values? Or do we want to veer off and become a fascist society?\u003c/p>\n\u003cfigure id=\"attachment_13887200\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887200\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/D7A9925.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9925.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9925-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9925-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Usha Srinivasan: ‘The outcome [of the election] will really determine the quality of life for Americans and the nature of American society going forward, and whether all of us feel we belong or not.’ \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>With the tremendous power and influence of social media, Silicon Valley has become a focus in this election. As an artist and someone deeply involved in promoting women in STEM fields, how do you weigh and balance the impact of companies like Facebook and Twitter on American politics? \u003c/strong>\u003c/p>\n\u003cp>I think for most of us social media has turned out to be like boiling the frog. Most of us didn’t quite realize the detrimental effects of handing this kind of power to these networks. Now we find ourselves in this bind where it’s very difficult to disconnect because that is our interaction with this world, whether we like it or not. In my work in the arts it’s almost impossible for a small organization to find an audience the traditional way, with fliers or ads. We’ve all found ourselves deeply entrenched in social networks, and we’re finding out that the technology is far ahead of our ability as social animals to adapt. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For example, being able to tell truth from fiction. People look at what’s happening online and assume they are real and true which leaves us vulnerable to manipulation by bad actors. We literally are not equipped to handle this as a society.\u003c/p>\n\u003cp>\u003cstrong>What response have you seen from the Desi community regarding Kamala Harris as Joe Biden’s running mate?\u003c/strong>\u003c/p>\n\u003cp>It was absolute exuberance. The South Asian community overall is very diverse, but I come from a Tamil family and that picture of Kamala Harris with her sister and grandparents could easily have come from my family photo album. You feel this kinship. She used this word ‘\u003ca href=\"https://www.washingtonpost.com/nation/2020/08/20/chittis-kamala-harris-dnc-tamil/\" rel=\"noopener noreferrer\" target=\"_blank\">chittis\u003c/a>,’ which, very specifically in my mother tongue of Tamil, means a mother’s younger sister or a father’s younger brother’s wife. Chitti is like a little mom. We were all raised in families with big moms and little moms, big dads and little dads. We’re were raised by a village, and we all had a throwback to our younger days. That one word she uttered about family instantly made an entire generation of Indian American women not only feel connected to her, but that we belonged here in America. So she has not only made us proud, but she’s made us feel like we too belong.\u003c/p>\n\u003cp>\u003cstrong>What performances or works of art have you seen in the last four years that capture this surreal moment or respond effectively to what’s going on in the country? \u003c/strong>\u003c/p>\n\u003cp>When I came here to go to business school in ’95, Silicon Valley was still two-thirds white, and the rest Hispanic, Asian and others. In the intervening 25 years, we have gone through enormous demographic changes in a very short period of time. The performances that are most compelling to me are the ones that reflect this changing community. One of the issues I grapple with is the lack of social cohesion in Silicon Valley. Even as we become more diverse, we are less integrated. You have entire communities that are quite content to live in their own silos. That represents a missed opportunity to express the true potential of America.\u003c/p>\n\u003cfigure id=\"attachment_13887205\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887205\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/D7A9936.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9936.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9936-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9936-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Usha Srinivasan: ‘[Kamala Harris] has not only made us proud, but she’s made us feel like we too belong.’ \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The way to break that down is through the arts, because art offers a universal language. For me the most compelling works of art are those that help bring both artists and disciplines from different communities together as a way of bringing audiences from those different cultures together. What creates bonds are shared experiences, as well as a shared understanding of history and a shared vision of the future.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now in Silicon Valley, 40 to 50 percent of people came from elsewhere, so they don’t have a shared understanding of history. People like me didn’t need to take a history exam to become a citizen. I had to take a civics exam. A lot of us didn’t know about the Ohlone or know about slavery. And then there are the latest stats that say for various reasons—transportation, cost of living—40 to 50 percent don’t see themselves living here 20 or 30 years, including people who were born and raised here.\u003c/p>\n\u003cp>You don’t share a past. You don’t see a future together. How do you build community? I think the arts provide a great way of creating those shared experiences.\u003c/p>\n\u003cp>\u003cstrong>After the election—no matter how it goes—what are your hopes and goals for the country, and for the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>Obviously I am an ultra-progressive liberal and I have come to realize that I have taken so much for granted. I’m in the process of examining my own privileges as an Indian American. I may look like a person of color, but the truth is, at this time here and given my background, I have all the privileges of my white brothers and sisters. I’m not saying that’s true of everyone. In the wake of Black Lives Matter and George Floyd, I’m realizing how broken the system is and how much work remains to be done. My hope is, inshallah, the Democrats win, but I hope we hold their feet to the fire and realize there’s a lot of work to be done. We can’t just tap into the Black vote, especially Black women, to help our candidates win and then forget them. We need to be just as vocal as we are against Trump in terms of systemic injustice, voter suppression and inequality.\u003c/p>\n\u003cfigure id=\"attachment_13887196\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13887196 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/D7A9906.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9906.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9906-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9906-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Usha Srinivasan: ‘We thought a lot of the battles that had to do with race and inclusion were in the past. … And we found out that there’s a lot more healing to be done and many more issues to be addressed.’ \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I’m hoping now that we’ve come so close to the brink, hopefully we’ll be more thoughtful and go back and make sure we never make these mistakes again. In the United States, it’s an idealistic country and a lot of systems are designed to rely on the honor code. And when you have dishonorable people taking advantage of the system, the system breaks down.\u003c/p>\n\u003cp>I’m hoping I can rededicate my life to being a powerful ally for those who have been left behind. It bothers me so much that the top billionaires have made a trillion dollars during the pandemic. It bothers me so much that I live in Saratoga where we want for nothing, but the people that tend to our lawns and watch our kids and clean our homes are living three to four families in one house 10 miles from here.\u003c/p>\n\u003cp>It’s immoral, and unsustainable, and not the way to build a harmonious society. I’m hoping that we’ll take a moment to celebrate, but regardless of what happens we have to fight.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>This interview was edited for length and clarity. Learn more about Usha Srinivasan \u003ca href=\"https://sangamarts.org/about/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Founded by philanthropist F. Warren Hellman, \u003ca href=\"https://www.hardlystrictlybluegrass.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hardly Strictly Bluegrass\u003c/a> has always brimmed with a spirit of generosity. For the last 20 years, the festival has brought a weekend of free music to Golden Gate Park, delighting fans and giving opportunities to dozens of local blues, rock and folk artists.\u003c/p>\n\u003cp>Hardly Strictly organizers have been incredibly giving during the pandemic, which has forced artists to cobble together a living without live shows and caused venues to teeter on the edge of closing permanently. (In fact, \u003ca href=\"https://www.kqed.org/coronavirusliveupdates/arts/13880741/oakland-venues-stork-club-spirithaus-shutter-due-to-pandemic\" target=\"_blank\" rel=\"noopener noreferrer\">some have\u003c/a> already.) In addition to their $1 million donation to the \u003ca href=\"https://www.artistrelief.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Artist Relief\u003c/a> fund, last weekend’s Let the Music Play On livestream—which took place instead of the IRL festival this year—raised $500,000 for the grant program, which gives out $5,000 to artists who’ve lost work during COVID-19 shutdowns. The current Artist Relief \u003ca href=\"https://www.artistrelief.org/apply\" target=\"_blank\" rel=\"noopener noreferrer\">application\u003c/a> cycle is open through Oct. 21. [aside postid='arts_13887215']\u003c/p>\n\u003cp>Hardly Strictly also announced that its own COVID-19 relief fund has given out $1.6 in funding. $600,000 of that amount went to individual musicians facing financial struggles, and $1 million went to Bay Area venues. Those include Ashkenaz, the Back Room, Bottom of the Hill, the Chapel, El Rio, Eli’s Mile High Club, Felton Music Hall, Geoffrey’s Inner Circle, the Ivy Room, the Lost Church, Mystic Theatre, the Monkey House, La Peña, Red Poppy Art House and the Starry Plough.\u003c/p>\n\u003cp>$25,000 also went to the \u003ca href=\"https://www.sweetrelief.org/rex-roadie-fund.html\" target=\"_blank\" rel=\"noopener noreferrer\">Sweet Relief Rex Roadie Fund\u003c/a>, which offers financial aid to crew members who work behind the scenes at concerts.\u003c/p>\n\u003cp>It’s crucial help for the music community at a time when the next COVID-19 relief package stalls in Congress, and the \u003ca href=\"https://www.kqed.org/arts/13883952/three-congressional-bills-could-help-save-independent-music-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Save Our Stages Act\u003c/a> hangs in limbo.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>It’s been a particularly tumultuous year for San Francisco’s public monuments.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/13870742/sfac-maya-angelou-women-statues\" target=\"_blank\" rel=\"noopener noreferrer\">debacle surrounding the commissioning of a memorial honoring the poet and activist Maya Angelou\u003c/a>, the \u003ca href=\"https://twitter.com/FitzTheReporter/status/1274374501925453824\" target=\"_blank\" rel=\"noopener noreferrer\">toppling and defacing of several bronze statues representing the country’s colonial history\u003c/a>, and \u003ca href=\"https://www.kqed.org/news/11825103/san-francisco-removes-controversial-christopher-columbus-statue-on-telegraph-hill\" target=\"_blank\" rel=\"noopener noreferrer\">the city’s hasty removal of the imposing bronze statue of Christopher Columbus by Coit Tower\u003c/a>, have opened up questions about San Francisco’s relationship with its monuments and whether some of the artworks in the municipal collection should exist at all.\u003c/p>\n\u003cp>As city officials trundle along with the slow process of \u003ca href=\"https://www.kqed.org/arts/13883431/city-to-evaluate-public-monuments-but-community-questions-its-track-record\" target=\"_blank\" rel=\"noopener noreferrer\">reviewing all 87 monuments\u003c/a> under their purview—and have yet to announce the set of criteria they plan to use to assess the artworks—a group of creative industry workers known collectively as the \u003ca href=\"https://newmonumentstaskforce.org/\" target=\"_blank\" rel=\"noopener noreferrer\">New Monument Taskforce\u003c/a> have taken it upon themselves to conduct their own parallel report.\u003c/p>\n\u003cp>“Being artists, we can move much faster than the city,” says \u003ca href=\"https://cheyenneconcepcion.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cheyenne Concepcion\u003c/a>, the San Francisco artist and designer who founded the task force and is the report’s main author.\u003c/p>\n\u003cfigure id=\"attachment_13887501\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887501\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/RS45211_Cheyenne-Concepcion-by-Quentin-Langlois-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/RS45211_Cheyenne-Concepcion-by-Quentin-Langlois-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/RS45211_Cheyenne-Concepcion-by-Quentin-Langlois-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/RS45211_Cheyenne-Concepcion-by-Quentin-Langlois-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/RS45211_Cheyenne-Concepcion-by-Quentin-Langlois-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/RS45211_Cheyenne-Concepcion-by-Quentin-Langlois-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/RS45211_Cheyenne-Concepcion-by-Quentin-Langlois-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco-based artist and designer Cheyenne Concepcion is the founder of the New Monuments Taskforce and the main author of ‘The Relic Report,’ the task force’s first publication. \u003ccite>(Quentin Langlois)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inspired by the city’s ongoing official survey, the task force (which Concepcion playfully calls a “fantastical municipal body”) came out this week with \u003ca href=\"https://files.cargocollective.com/c800012/TheRelicReport-PartOne.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Relic Report: An Unofficial Municipal Study of SF’s Monuments\u003c/em>\u003c/a>. The slender volume groups the 87 monuments under six headings. Each of the six sections features images of the categorized artworks as well as written commentary on the groupings. It’s like a slimmed-down version of an Audubon bird guide, but for public memorials.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>The Relic Report\u003c/em>’s taxonomy includes colonial statues (or “Original Gentrifiers”—OGs—in \u003cem>Relic Report\u003c/em> parlance) such as the 1939 statue of St. Francis of Assisi in Golden Gate Park; war memorials like the five memorializing the Spanish-American war; statues to political and cultural icons including Robert Louis Stevenson, Abraham Lincoln and William Shakespeare; non-representational monuments like pop artist George Segal’s \u003ci>The Holocaust\u003c/i>, a 1982 memorial made from bronze, wire and concrete, installed in Lincoln Park; and a group of misfits, like the Volunteer Fireman Memorial, a 1932 sculpture depicting a trio of firefighters mounted on a marble plinth located in Washington Square.\u003c/p>\n\u003cp>You can scroll through a complete list of the city’s monuments \u003ca href=\"https://www.sfchronicle.com/file/219/5/2195-Civic%20Art%20Collection%20Monuments%20and%20Memorials%20DETAIL.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>But the largest group in the \u003cem>Relic Report\u003c/em> by far is “The Boys Club”—a section devoted to monuments mostly depicting dead white men. “Monuments tell us about who we are, where we have been,” Concepcion writes in her report. “So what does that entail when there are three women and fifty-three men represented in the San Francisco Civic Art Collection.”\u003c/p>\n\u003cp>Concepcion says she hopes grouping the city’s collection in this way will help members of the public see patterns in San Francisco’s approach to commissioning monuments.\u003c/p>\n\u003cp>“I think that there’s a correlation between that number of monuments and their messaging,” she says. “So the fact that there are fewer modern monuments tells us that maybe that’s not as important to us. And then the fact that the most patriarchal monuments is the biggest group, maybe that kind of weighs heavier in terms of the level of importance.”\u003c/p>\n\u003cp>The task force currently consists of \u003ca href=\"https://newmonumentstaskforce.org/About\" target=\"_blank\" rel=\"noopener noreferrer\">12 members\u003c/a> representing an array of backgrounds, including Elizabeth Gessel, director of public programs at San Francisco’s \u003ca href=\"https://www.moadsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Museum of the African Diaspora\u003c/a> and \u003ca href=\"https://hueypnewtonfoundation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Huey P. Newton Foundation\u003c/a> deputy director Xavier G. Buck. The majority of the members are Bay Area-based. But there are some exceptions, like Paul Farber, director of \u003ca href=\"https://monumentlab.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Monument Lab\u003c/a>, a public art and history studio in Philadelphia.\u003c/p>\n\u003cp>“Cheyenne Concepcion’s New Monuments Taskforce and \u003cem>The Relic Report\u003c/em> are part of a fascinating and meaningful wave of local interventions that also address the national reckoning over monuments,” says Farber. “Even when a city runs official oversight over public art and keeps data on its own public monuments, we rely on artists and critical thinkers to animate and push those civic processes—to draw out potential connections, complex motifs and timely entry points for further action.”\u003c/p>\n\u003cp>Concepcion is one of 18 \u003cem>\u003ca href=\"https://www.goethe.de/ins/us/en/kul/art/stp.html\" target=\"_blank\" rel=\"noopener noreferrer\">Shaping the Past\u003c/a>\u003c/em> artistic fellows supported by the \u003ca href=\"https://www.goethe.de/\" target=\"_blank\" rel=\"noopener noreferrer\">Goethe Institut, \u003c/a>Germany’s foreign cultural institute. \u003cem>Shaping the Past\u003c/em> projects aim to reflect on cultural memory in the U.S. and across the globe.\u003c/p>\n\u003cp>“Cheyenne’s approach is deeply connected to the questions that \u003cem>Shaping the Past\u003c/em> is addressing in general: What social repercussions are associated with the rooting of history in monuments and memorials, and how can those narratives be shifted or upended through alternative, innovative approaches to memorialization?” says Bettina Wodianka, former program curator at the Goethe Institut in San Francisco.\u003c/p>\n\u003cp>Now that the task force’s \u003cem>Relic Report\u003c/em> is live (paper versions are currently available for free at \u003ca href=\"http://www.adobebooks.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Adobe Books\u003c/a> in the Mission District), Concepcion says the plan is to solicit feedback from the public about the city’s monuments. The window for public comment runs through Oct. 25. People can submit their responses to the task force’s series of questions via an \u003ca href=\"https://newmonumentstaskforce.org/Public-Comment\" target=\"_blank\" rel=\"noopener noreferrer\">online survey\u003c/a> or a mail-in one, which can be found inside each hard-copy version of the report.\u003c/p>\n\u003cfigure id=\"attachment_13887502\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887502\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/Screen-Shot-2020-10-06-at-13.05.43-800x438.png\" alt=\"\" width=\"800\" height=\"438\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-06-at-13.05.43-800x438.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-06-at-13.05.43-1020x558.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-06-at-13.05.43-160x88.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-06-at-13.05.43-768x420.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-06-at-13.05.43-1536x840.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-06-at-13.05.43-2048x1120.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-06-at-13.05.43-1920x1050.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Relic Report’ includes a survey asking members of the public to share their views about San Francisco’s monuments. It can be completed online or via the mail-in survey enclosed with each hard copy of the report. \u003ccite>(Courtesy of The New Monuments Taskforce)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After that, Concepcion says, the task force will meet to discuss the findings. The public input will form the basis of a second report, a set of recommendations for San Francisco monuments going forwards, which the task force plans to share with city officials in December. “It’s a means to apply political pressure regarding more meaningful representation through public art in our public spaces,” Concepcion says.\u003c/p>\n\u003cp>Concepcion says she started reaching out to the \u003ca href=\"https://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Arts Commission\u003c/a>, one of three city departments tasked with surveying and rethinking San Francisco’s monuments processes and policies, a couple of months ago.\u003c/p>\n\u003cp>She says someone from that department finally got back to her last week. “It sounds like they’re open to at least seeing what I have to say to them,” Concepcion says. “I see this as a resource for them too.”\u003c/p>\n\u003cp>“The Arts Commission has no comment because we are not partnering on this project,” wrote the arts commission’s acting director of communications, Rachelle Axel, in an email to KQED. “These are parallel efforts. Members of our team had a call with Cheyenne last Friday to get more information from her on her task force plans. But we aren’t working together … Cheyenne’s is an artistic endeavor and ours is very much about the future disposition of the City’s monuments.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I view my version as a punk rock version; it’s less serious and more snarky than the city’s,” Concepcion says, noting the advantages of being unofficial. “I’m hoping that people will feel like they can be more honest, so we can generate meaningful reflections.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been a particularly tumultuous year for San Francisco’s public monuments.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/13870742/sfac-maya-angelou-women-statues\" target=\"_blank\" rel=\"noopener noreferrer\">debacle surrounding the commissioning of a memorial honoring the poet and activist Maya Angelou\u003c/a>, the \u003ca href=\"https://twitter.com/FitzTheReporter/status/1274374501925453824\" target=\"_blank\" rel=\"noopener noreferrer\">toppling and defacing of several bronze statues representing the country’s colonial history\u003c/a>, and \u003ca href=\"https://www.kqed.org/news/11825103/san-francisco-removes-controversial-christopher-columbus-statue-on-telegraph-hill\" target=\"_blank\" rel=\"noopener noreferrer\">the city’s hasty removal of the imposing bronze statue of Christopher Columbus by Coit Tower\u003c/a>, have opened up questions about San Francisco’s relationship with its monuments and whether some of the artworks in the municipal collection should exist at all.\u003c/p>\n\u003cp>As city officials trundle along with the slow process of \u003ca href=\"https://www.kqed.org/arts/13883431/city-to-evaluate-public-monuments-but-community-questions-its-track-record\" target=\"_blank\" rel=\"noopener noreferrer\">reviewing all 87 monuments\u003c/a> under their purview—and have yet to announce the set of criteria they plan to use to assess the artworks—a group of creative industry workers known collectively as the \u003ca href=\"https://newmonumentstaskforce.org/\" target=\"_blank\" rel=\"noopener noreferrer\">New Monument Taskforce\u003c/a> have taken it upon themselves to conduct their own parallel report.\u003c/p>\n\u003cp>“Being artists, we can move much faster than the city,” says \u003ca href=\"https://cheyenneconcepcion.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cheyenne Concepcion\u003c/a>, the San Francisco artist and designer who founded the task force and is the report’s main author.\u003c/p>\n\u003cfigure id=\"attachment_13887501\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887501\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/RS45211_Cheyenne-Concepcion-by-Quentin-Langlois-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/RS45211_Cheyenne-Concepcion-by-Quentin-Langlois-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/RS45211_Cheyenne-Concepcion-by-Quentin-Langlois-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/RS45211_Cheyenne-Concepcion-by-Quentin-Langlois-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/RS45211_Cheyenne-Concepcion-by-Quentin-Langlois-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/RS45211_Cheyenne-Concepcion-by-Quentin-Langlois-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/RS45211_Cheyenne-Concepcion-by-Quentin-Langlois-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco-based artist and designer Cheyenne Concepcion is the founder of the New Monuments Taskforce and the main author of ‘The Relic Report,’ the task force’s first publication. \u003ccite>(Quentin Langlois)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inspired by the city’s ongoing official survey, the task force (which Concepcion playfully calls a “fantastical municipal body”) came out this week with \u003ca href=\"https://files.cargocollective.com/c800012/TheRelicReport-PartOne.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Relic Report: An Unofficial Municipal Study of SF’s Monuments\u003c/em>\u003c/a>. The slender volume groups the 87 monuments under six headings. Each of the six sections features images of the categorized artworks as well as written commentary on the groupings. It’s like a slimmed-down version of an Audubon bird guide, but for public memorials.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Relic Report\u003c/em>’s taxonomy includes colonial statues (or “Original Gentrifiers”—OGs—in \u003cem>Relic Report\u003c/em> parlance) such as the 1939 statue of St. Francis of Assisi in Golden Gate Park; war memorials like the five memorializing the Spanish-American war; statues to political and cultural icons including Robert Louis Stevenson, Abraham Lincoln and William Shakespeare; non-representational monuments like pop artist George Segal’s \u003ci>The Holocaust\u003c/i>, a 1982 memorial made from bronze, wire and concrete, installed in Lincoln Park; and a group of misfits, like the Volunteer Fireman Memorial, a 1932 sculpture depicting a trio of firefighters mounted on a marble plinth located in Washington Square.\u003c/p>\n\u003cp>You can scroll through a complete list of the city’s monuments \u003ca href=\"https://www.sfchronicle.com/file/219/5/2195-Civic%20Art%20Collection%20Monuments%20and%20Memorials%20DETAIL.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>But the largest group in the \u003cem>Relic Report\u003c/em> by far is “The Boys Club”—a section devoted to monuments mostly depicting dead white men. “Monuments tell us about who we are, where we have been,” Concepcion writes in her report. “So what does that entail when there are three women and fifty-three men represented in the San Francisco Civic Art Collection.”\u003c/p>\n\u003cp>Concepcion says she hopes grouping the city’s collection in this way will help members of the public see patterns in San Francisco’s approach to commissioning monuments.\u003c/p>\n\u003cp>“I think that there’s a correlation between that number of monuments and their messaging,” she says. “So the fact that there are fewer modern monuments tells us that maybe that’s not as important to us. And then the fact that the most patriarchal monuments is the biggest group, maybe that kind of weighs heavier in terms of the level of importance.”\u003c/p>\n\u003cp>The task force currently consists of \u003ca href=\"https://newmonumentstaskforce.org/About\" target=\"_blank\" rel=\"noopener noreferrer\">12 members\u003c/a> representing an array of backgrounds, including Elizabeth Gessel, director of public programs at San Francisco’s \u003ca href=\"https://www.moadsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Museum of the African Diaspora\u003c/a> and \u003ca href=\"https://hueypnewtonfoundation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Huey P. Newton Foundation\u003c/a> deputy director Xavier G. Buck. The majority of the members are Bay Area-based. But there are some exceptions, like Paul Farber, director of \u003ca href=\"https://monumentlab.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Monument Lab\u003c/a>, a public art and history studio in Philadelphia.\u003c/p>\n\u003cp>“Cheyenne Concepcion’s New Monuments Taskforce and \u003cem>The Relic Report\u003c/em> are part of a fascinating and meaningful wave of local interventions that also address the national reckoning over monuments,” says Farber. “Even when a city runs official oversight over public art and keeps data on its own public monuments, we rely on artists and critical thinkers to animate and push those civic processes—to draw out potential connections, complex motifs and timely entry points for further action.”\u003c/p>\n\u003cp>Concepcion is one of 18 \u003cem>\u003ca href=\"https://www.goethe.de/ins/us/en/kul/art/stp.html\" target=\"_blank\" rel=\"noopener noreferrer\">Shaping the Past\u003c/a>\u003c/em> artistic fellows supported by the \u003ca href=\"https://www.goethe.de/\" target=\"_blank\" rel=\"noopener noreferrer\">Goethe Institut, \u003c/a>Germany’s foreign cultural institute. \u003cem>Shaping the Past\u003c/em> projects aim to reflect on cultural memory in the U.S. and across the globe.\u003c/p>\n\u003cp>“Cheyenne’s approach is deeply connected to the questions that \u003cem>Shaping the Past\u003c/em> is addressing in general: What social repercussions are associated with the rooting of history in monuments and memorials, and how can those narratives be shifted or upended through alternative, innovative approaches to memorialization?” says Bettina Wodianka, former program curator at the Goethe Institut in San Francisco.\u003c/p>\n\u003cp>Now that the task force’s \u003cem>Relic Report\u003c/em> is live (paper versions are currently available for free at \u003ca href=\"http://www.adobebooks.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Adobe Books\u003c/a> in the Mission District), Concepcion says the plan is to solicit feedback from the public about the city’s monuments. The window for public comment runs through Oct. 25. People can submit their responses to the task force’s series of questions via an \u003ca href=\"https://newmonumentstaskforce.org/Public-Comment\" target=\"_blank\" rel=\"noopener noreferrer\">online survey\u003c/a> or a mail-in one, which can be found inside each hard-copy version of the report.\u003c/p>\n\u003cfigure id=\"attachment_13887502\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887502\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/Screen-Shot-2020-10-06-at-13.05.43-800x438.png\" alt=\"\" width=\"800\" height=\"438\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-06-at-13.05.43-800x438.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-06-at-13.05.43-1020x558.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-06-at-13.05.43-160x88.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-06-at-13.05.43-768x420.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-06-at-13.05.43-1536x840.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-06-at-13.05.43-2048x1120.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-06-at-13.05.43-1920x1050.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Relic Report’ includes a survey asking members of the public to share their views about San Francisco’s monuments. It can be completed online or via the mail-in survey enclosed with each hard copy of the report. \u003ccite>(Courtesy of The New Monuments Taskforce)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After that, Concepcion says, the task force will meet to discuss the findings. The public input will form the basis of a second report, a set of recommendations for San Francisco monuments going forwards, which the task force plans to share with city officials in December. “It’s a means to apply political pressure regarding more meaningful representation through public art in our public spaces,” Concepcion says.\u003c/p>\n\u003cp>Concepcion says she started reaching out to the \u003ca href=\"https://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Arts Commission\u003c/a>, one of three city departments tasked with surveying and rethinking San Francisco’s monuments processes and policies, a couple of months ago.\u003c/p>\n\u003cp>She says someone from that department finally got back to her last week. “It sounds like they’re open to at least seeing what I have to say to them,” Concepcion says. “I see this as a resource for them too.”\u003c/p>\n\u003cp>“The Arts Commission has no comment because we are not partnering on this project,” wrote the arts commission’s acting director of communications, Rachelle Axel, in an email to KQED. “These are parallel efforts. Members of our team had a call with Cheyenne last Friday to get more information from her on her task force plans. But we aren’t working together … Cheyenne’s is an artistic endeavor and ours is very much about the future disposition of the City’s monuments.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I view my version as a punk rock version; it’s less serious and more snarky than the city’s,” Concepcion says, noting the advantages of being unofficial. “I’m hoping that people will feel like they can be more honest, so we can generate meaningful reflections.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Headlands to End Affiliate Artist Program, Launch Bay Area Fellowships",
"headTitle": "Headlands to End Affiliate Artist Program, Launch Bay Area Fellowships | KQED",
"content": "\u003cp>In the middle of a chaotic and universally terrible year, artist \u003ca href=\"https://drsfoto.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Daniel Southard\u003c/a> received the happy news that he had been accepted into Headlands Center for the Arts’ affiliate artist program. It meant at least one more year in Building 960, a former \u003ca href=\"http://www.headlands.org/about/building-commission/the-fort-barry-building/\" rel=\"noopener noreferrer\" target=\"_blank\">U.S. Army Quartermaster building\u003c/a> overlooking the Headlands’ Nike Missile Site, where he enjoyed a studio as a graduate fellow. Or, to be more specific, that he \u003ci>had\u003c/i> enjoyed until mid-March, when the coronavirus pandemic closed not just the studio, but the entire Marin Headlands. \u003c/p>\n\u003cp>“I was thrilled to get accepted in the affiliate program and expand my practice in old and new ways over the coming three years,” Southard wrote in an email. “I was also excited about the stability of knowing, at least partially, what these next three years might bring.”\u003c/p>\n\u003cp>The affiliates, a select group of around 20 artists and writers who pay below-market-rate for studio spaces in Building 960 and 961, have the option to reapply for their positions for up to three years at Headlands. At $1.10 per square foot on top of a $45 base, affiliate spaces are some of the most affordable—and stable—studios in the Bay Area. \u003c/p>\n\u003cp>It was May when Southard got his acceptance, followed by some communication about picking his next studio space, or maybe keeping his current spot. Then the emails petered out. “Oh, it’s the pandemic,” he remembers thinking. On July 15, affiliate artists were told Building 960 and 961 were reopening; they could begin to sign up for time slots to maintain social distancing. \u003c/p>\n\u003cfigure id=\"attachment_13887264\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/961_Front-Doors_AndriaLo_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13887264\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/961_Front-Doors_AndriaLo_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/961_Front-Doors_AndriaLo_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/961_Front-Doors_AndriaLo_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/961_Front-Doors_AndriaLo_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/961_Front-Doors_AndriaLo_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Building 961, currently home to some affiliate artist studios. \u003ccite>(Andria Lo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Less than a month later, though, on Aug. 10, all the current and future affiliates received the unexpected news that the entire affiliate program would cease to exist at the end of 2020. The arts center, facing an approximate $1 million budget deficit this year, had decided to accelerate plans to consolidate its campus, returning Building 960 and 961 to the National Park Service and sunsetting the program they housed. The final affiliate cohort, including Southard, would be its last.\u003c/p>\n\u003cp>Collectively, the affiliate artists had a simple statement: “It’s heartbreaking.” \u003c/p>\n\u003cp>The end of the \u003ca href=\"http://www.headlands.org/program/affiliate/\" rel=\"noopener noreferrer\" target=\"_blank\">affiliate program\u003c/a>, which has been part of Headlands in some form since 1988, is just one of several big-picture changes the arts organization plans to adopt beginning in January 2021. These decisions, which affect both the nonprofit’s physical campus and the ways in which it serves artists, were sped along by the pandemic but are rooted, program director Sean Uyehara emphasizes, in a five-year master plan approved in 2018. That plan refocuses the organization on its “core campus,” with new programming, according to \u003ca href=\"http://www.headlands.org/about/a-new-headlands/\" rel=\"noopener noreferrer\" target=\"_blank\">today’s announcement\u003c/a>, which shows Headlands “getting bold by narrowing our focus, going deeper, and, in the process, innovating how we support artists.”\u003c/p>\n\u003ch2>‘Rethinking everything we’re doing’\u003c/h2>\n\u003cp>The coronavirus pandemic has stripped arts nonprofits of earned income opportunities, threatened future funding, led to layoffs and furloughs, halted programming and pretty much turned everything upside down. Headlands Center for the Arts, despite a strong history of fundraising and a growing staff in recent years, is no exception.[aside postID='arts_13878509']\u003c/p>\n\u003cp>Immediate financial losses came in the form of canceled event rentals, which in 2019 had amounted to $260,077, or 5% of the arts center’s earned income and revenue. Suddenly, the calendar was wiped clean, reimbursements needed to be issued, and weddings or corporate retreats were out of the question for the foreseeable future. \u003c/p>\n\u003cp>2020 was already set to be a transitional year for the 38-year-old organization, best known outside the region for its highly competitive international residency program. In February, Sharon Maidenberg, Headlands’ executive director, \u003ca href=\"https://datebook.sfchronicle.com/art-exhibits/headlands-center-for-the-arts-director-leaving-to-lead-texas-museum\" rel=\"noopener noreferrer\" target=\"_blank\">announced\u003c/a> she would leave the nonprofit in June, after 10 years in her position. An executive search \u003ca href=\"https://koyapartners.com/search/headlands-executive-director/\" rel=\"noopener noreferrer\" target=\"_blank\">launched in March\u003c/a>, and Andrew Niklaus came on in May as an interim leader.\u003c/p>\n\u003cfigure id=\"attachment_13887265\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/HCA_Campus_Tom-Ide_1_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13887265\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/HCA_Campus_Tom-Ide_1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/HCA_Campus_Tom-Ide_1_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/HCA_Campus_Tom-Ide_1_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/HCA_Campus_Tom-Ide_1_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/HCA_Campus_Tom-Ide_1_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A view of Headlands Center for the Arts’ lower campus buildings. \u003ccite>(Tom Ide)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a normal year, the 20 affiliate artists and 14 graduate fellows would rub elbows with over 40 visiting artists and collectives at Mess Hall dinners, an exchange the affiliate artists describe as mutually beneficial. (Residents are often well-established in their careers, but affiliates have the advantage of local know-how, information they’re happy to share with visitors.)\u003c/p>\n\u003cp>Spring residents were scheduled to show up in March from as far away as Botswana; Headlands staff made the call to cancel their arrival just days before the Bay Area entered shelter in place. Board member and former affiliate artist Tucker Nichols says it was immediately apparent the organization needed to act quickly to address both near-future budget shortfalls and the long-term economic fallout the pandemic would surely bring about. \u003c/p>\n\u003cp>Headlands’ annual rent costs are around $174,00 per year; Buildings 960 and 961 represent roughly 21% of that amount. The organization estimates it would cost Headlands a minimum of $462,000—including rent, associated staff time, maintenance and “leasehold improvements”—to operate these buildings, as planned, through 2023.\u003c/p>\n\u003cp>“I don’t know if I would have done what they did,” Uyehara says of the Headlands’ 25-person board, several of whom are artists. “They gave so much time to us for free and we really needed it.” Together with remaining staff—two full-time employees were laid off, one in July and one in August—the board worked to figure out the organization’s available options. “The pandemic suggested the possibility that Headlands would have to close,” Uyehara says. “We worked for about three months really intensely on just reformulating, and rethinking everything we’re doing.” \u003c/p>\n\u003cp>Guiding them throughout, he says, was the existing master plan.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch2>‘We don’t want to go anywhere else’\u003c/h2>\n\u003cp>Part of Headlands’ 2018 master plan specified this exact consolidation of the campus, returning Building 960 and 961 to the Park Service and concentrating on maintaining the “lower” campus: the residences and Buildings 944 and 945. But the master plan outlined that this would happen by 2023, when the affiliate artist program would sunset. Incoming affiliates would be advised about the end of the program one, maybe even two years in advance—so they could know what they were getting into, and when it would all come to a close.\u003c/p>\n\u003cp>Moving everything up to the end of 2020 means no such gentle transition. “I won’t make this sound like we’re so happy and thrilled about everything,” Nichols says. He speaks wistfully of his own former studio in Building 960. “As an artist on the board, this was extremely painful … to have to end this program and give up those buildings is painful.” \u003c/p>\n\u003cp>Nichols adds: “If I had a studio there, I would feel really disappointed. The thing you need most is a place to make your work and a place to retreat to for your sanity.” \u003c/p>\n\u003cp>The current affiliates agree. To them, today’s announcement reads like a decision made in 2018 that they’re just now hearing about, a decision made without consulting them then—or now. Collectively, the affiliates say their studios are a key part of what enables many of them to stay in the Bay Area, a region so many artists have fled over the years because it’s simply “so much easier to be somewhere else,” they say. \u003c/p>\n\u003cp>Especially during the pandemic, Headlands has become a place where they can still be together, albeit in more distant ways, going for walks and maintaining a sense of community rooted in place. “Losing this space that allows for us to be here and to work here is really hurtful,” they say. “We don’t want to go away, we don’t want to go anywhere else.”\u003c/p>\n\u003cfigure id=\"attachment_13887266\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/Thematic_Palliative-Care_photo_by_TomIde_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13887266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Thematic_Palliative-Care_photo_by_TomIde_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Thematic_Palliative-Care_photo_by_TomIde_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Thematic_Palliative-Care_photo_by_TomIde_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Thematic_Palliative-Care_photo_by_TomIde_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Thematic_Palliative-Care_photo_by_TomIde_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Headlands Center for the Arts Program Director Sean Uyehara speaking with participants of the Thematic Residency on Palliative Care Futures and Psychedelic Medicines, in January, 2020. \u003ccite>(Tom Ide)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Adding to the sense of abandonment are other parts of Headlands’ reformulated plan for 2021: two newly created and generously funded fellowships, \u003ca href=\"http://www.headlands.org/program/bay-area-fellowship-program/\" rel=\"noopener noreferrer\" target=\"_blank\">one for Bay Area artists\u003c/a>, the other for \u003ca href=\"http://www.headlands.org/program/threshold-fellowship/\" rel=\"noopener noreferrer\" target=\"_blank\">multidisciplinary cohorts\u003c/a>. With these new programs, Headlands will work with less artists (Uyehara envisions the Bay Area Fellowship will launch with three artists, but aims to expand it for 8–10), but more deeply and responsively.\u003c/p>\n\u003cp>Each Bay Area fellow will receive a $15,000 honorarium per year over two years, along with the option for health insurance and an “$8,000 pot” to use towards their material and immaterial fellowship needs, Uyehara says. Applications open January 2021.\u003c/p>\n\u003cp>The Threshold Fellowship will gather artists and experts to “explore critical issues” in the vein of Headlands’ previous thematic residencies. Three fellows will receive $10,000 each, time and space at Headlands and additional monetary and administrative support to develop programs and activities over the course of a year. \u003c/p>\n\u003cp>Uyehara describes both fellowships as providing deeper support to artists than past residencies. Instead of a one-size-fits-all approach, working with fewer people will allow Headlands staff to be more responsive to individual fellows’ needs, to help them craft a program that serves their particular practice in that moment.[aside postID='arts_13808504']\u003c/p>\n\u003cp>Uyehara is aware it’s going to be hard to separate the end of the affiliate program from the launch of the Bay Area fellowship, but stresses they’re two very separate decisions. “It’s really intended to vest and fully express the organization’s intention to become a more equitable institution,” he says of the fellowship. “It’s not intended that that equity would come at the price of the local artists. I don’t think that there’s a way to unhinge those things, but it’s never intended that the new programs would replace the old ones.”\u003c/p>\n\u003cp>Affiliates point out their current cohort is possibly the most diverse group of artists the program has accepted in recent years—and if equity is the goal, they question why Headlands would dissolve a program that is already successful.\u003c/p>\n\u003cp>But the real problem, Uyehara says with a sigh, is timing—the affiliates were supposed to have much more lead time to know their program was ending.\u003c/p>\n\u003ch2>Ensuring Futures\u003c/h2>\n\u003cp>In an attempt to cushion the blow of losing their studios, affiliates will be offered six to nine months of free studio space in Headlands’ lower campus buildings over the course of the next few years. The affiliates appreciate this gesture, but they believe their needs are once again not taking priority: their understanding is that their studio time is to be slotted around rescheduled residencies of Bay Area and California artists from the 2020 cohort, which will now take place only in the summer months. \u003c/p>\n\u003cp>“It’s not the affiliate program,” they say. “There’s no kind of support, programs, or explanation of how we will be presented. It’s just studio space.” \u003c/p>\n\u003cp>Meanwhile, Headlands is still negotiating with the Park Service to secure a long-term lease on the lower campus buildings. Buildings 960 and 961 may facilitate that process. “Part of what makes dealing with the Park easier is the return of the buildings,” Uyehara says.\u003c/p>\n\u003cp>And while it seems there is little time or room to alter the outcome of today’s announcement, the affiliate artists are committed to doing everything they can to ensure the future of their program. To that end, they’ve over gathered 50 emails of support from former affiliates who credit the program with substantially influencing their professional lives. \u003c/p>\n\u003cp>For now, the affiliate artists, 13 graduate fellows and two Tournesol awardees are the only artists at Headlands. The affiliate artists find this fact particularly poignant.\u003c/p>\n\u003cp>“I wish they valued us as much as they say they will value artists of the future,” say the affiliates.\u003c/p>\n\u003cp>\u003ci>This story has been updated to reflect the fact that 15 artists in addition to the affiliates are also currently working at Headlands.\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the middle of a chaotic and universally terrible year, artist \u003ca href=\"https://drsfoto.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Daniel Southard\u003c/a> received the happy news that he had been accepted into Headlands Center for the Arts’ affiliate artist program. It meant at least one more year in Building 960, a former \u003ca href=\"http://www.headlands.org/about/building-commission/the-fort-barry-building/\" rel=\"noopener noreferrer\" target=\"_blank\">U.S. Army Quartermaster building\u003c/a> overlooking the Headlands’ Nike Missile Site, where he enjoyed a studio as a graduate fellow. Or, to be more specific, that he \u003ci>had\u003c/i> enjoyed until mid-March, when the coronavirus pandemic closed not just the studio, but the entire Marin Headlands. \u003c/p>\n\u003cp>“I was thrilled to get accepted in the affiliate program and expand my practice in old and new ways over the coming three years,” Southard wrote in an email. “I was also excited about the stability of knowing, at least partially, what these next three years might bring.”\u003c/p>\n\u003cp>The affiliates, a select group of around 20 artists and writers who pay below-market-rate for studio spaces in Building 960 and 961, have the option to reapply for their positions for up to three years at Headlands. At $1.10 per square foot on top of a $45 base, affiliate spaces are some of the most affordable—and stable—studios in the Bay Area. \u003c/p>\n\u003cp>It was May when Southard got his acceptance, followed by some communication about picking his next studio space, or maybe keeping his current spot. Then the emails petered out. “Oh, it’s the pandemic,” he remembers thinking. On July 15, affiliate artists were told Building 960 and 961 were reopening; they could begin to sign up for time slots to maintain social distancing. \u003c/p>\n\u003cfigure id=\"attachment_13887264\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/961_Front-Doors_AndriaLo_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13887264\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/961_Front-Doors_AndriaLo_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/961_Front-Doors_AndriaLo_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/961_Front-Doors_AndriaLo_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/961_Front-Doors_AndriaLo_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/961_Front-Doors_AndriaLo_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Building 961, currently home to some affiliate artist studios. \u003ccite>(Andria Lo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Less than a month later, though, on Aug. 10, all the current and future affiliates received the unexpected news that the entire affiliate program would cease to exist at the end of 2020. The arts center, facing an approximate $1 million budget deficit this year, had decided to accelerate plans to consolidate its campus, returning Building 960 and 961 to the National Park Service and sunsetting the program they housed. The final affiliate cohort, including Southard, would be its last.\u003c/p>\n\u003cp>Collectively, the affiliate artists had a simple statement: “It’s heartbreaking.” \u003c/p>\n\u003cp>The end of the \u003ca href=\"http://www.headlands.org/program/affiliate/\" rel=\"noopener noreferrer\" target=\"_blank\">affiliate program\u003c/a>, which has been part of Headlands in some form since 1988, is just one of several big-picture changes the arts organization plans to adopt beginning in January 2021. These decisions, which affect both the nonprofit’s physical campus and the ways in which it serves artists, were sped along by the pandemic but are rooted, program director Sean Uyehara emphasizes, in a five-year master plan approved in 2018. That plan refocuses the organization on its “core campus,” with new programming, according to \u003ca href=\"http://www.headlands.org/about/a-new-headlands/\" rel=\"noopener noreferrer\" target=\"_blank\">today’s announcement\u003c/a>, which shows Headlands “getting bold by narrowing our focus, going deeper, and, in the process, innovating how we support artists.”\u003c/p>\n\u003ch2>‘Rethinking everything we’re doing’\u003c/h2>\n\u003cp>The coronavirus pandemic has stripped arts nonprofits of earned income opportunities, threatened future funding, led to layoffs and furloughs, halted programming and pretty much turned everything upside down. Headlands Center for the Arts, despite a strong history of fundraising and a growing staff in recent years, is no exception.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Immediate financial losses came in the form of canceled event rentals, which in 2019 had amounted to $260,077, or 5% of the arts center’s earned income and revenue. Suddenly, the calendar was wiped clean, reimbursements needed to be issued, and weddings or corporate retreats were out of the question for the foreseeable future. \u003c/p>\n\u003cp>2020 was already set to be a transitional year for the 38-year-old organization, best known outside the region for its highly competitive international residency program. In February, Sharon Maidenberg, Headlands’ executive director, \u003ca href=\"https://datebook.sfchronicle.com/art-exhibits/headlands-center-for-the-arts-director-leaving-to-lead-texas-museum\" rel=\"noopener noreferrer\" target=\"_blank\">announced\u003c/a> she would leave the nonprofit in June, after 10 years in her position. An executive search \u003ca href=\"https://koyapartners.com/search/headlands-executive-director/\" rel=\"noopener noreferrer\" target=\"_blank\">launched in March\u003c/a>, and Andrew Niklaus came on in May as an interim leader.\u003c/p>\n\u003cfigure id=\"attachment_13887265\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/HCA_Campus_Tom-Ide_1_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13887265\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/HCA_Campus_Tom-Ide_1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/HCA_Campus_Tom-Ide_1_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/HCA_Campus_Tom-Ide_1_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/HCA_Campus_Tom-Ide_1_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/HCA_Campus_Tom-Ide_1_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A view of Headlands Center for the Arts’ lower campus buildings. \u003ccite>(Tom Ide)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a normal year, the 20 affiliate artists and 14 graduate fellows would rub elbows with over 40 visiting artists and collectives at Mess Hall dinners, an exchange the affiliate artists describe as mutually beneficial. (Residents are often well-established in their careers, but affiliates have the advantage of local know-how, information they’re happy to share with visitors.)\u003c/p>\n\u003cp>Spring residents were scheduled to show up in March from as far away as Botswana; Headlands staff made the call to cancel their arrival just days before the Bay Area entered shelter in place. Board member and former affiliate artist Tucker Nichols says it was immediately apparent the organization needed to act quickly to address both near-future budget shortfalls and the long-term economic fallout the pandemic would surely bring about. \u003c/p>\n\u003cp>Headlands’ annual rent costs are around $174,00 per year; Buildings 960 and 961 represent roughly 21% of that amount. The organization estimates it would cost Headlands a minimum of $462,000—including rent, associated staff time, maintenance and “leasehold improvements”—to operate these buildings, as planned, through 2023.\u003c/p>\n\u003cp>“I don’t know if I would have done what they did,” Uyehara says of the Headlands’ 25-person board, several of whom are artists. “They gave so much time to us for free and we really needed it.” Together with remaining staff—two full-time employees were laid off, one in July and one in August—the board worked to figure out the organization’s available options. “The pandemic suggested the possibility that Headlands would have to close,” Uyehara says. “We worked for about three months really intensely on just reformulating, and rethinking everything we’re doing.” \u003c/p>\n\u003cp>Guiding them throughout, he says, was the existing master plan.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>‘We don’t want to go anywhere else’\u003c/h2>\n\u003cp>Part of Headlands’ 2018 master plan specified this exact consolidation of the campus, returning Building 960 and 961 to the Park Service and concentrating on maintaining the “lower” campus: the residences and Buildings 944 and 945. But the master plan outlined that this would happen by 2023, when the affiliate artist program would sunset. Incoming affiliates would be advised about the end of the program one, maybe even two years in advance—so they could know what they were getting into, and when it would all come to a close.\u003c/p>\n\u003cp>Moving everything up to the end of 2020 means no such gentle transition. “I won’t make this sound like we’re so happy and thrilled about everything,” Nichols says. He speaks wistfully of his own former studio in Building 960. “As an artist on the board, this was extremely painful … to have to end this program and give up those buildings is painful.” \u003c/p>\n\u003cp>Nichols adds: “If I had a studio there, I would feel really disappointed. The thing you need most is a place to make your work and a place to retreat to for your sanity.” \u003c/p>\n\u003cp>The current affiliates agree. To them, today’s announcement reads like a decision made in 2018 that they’re just now hearing about, a decision made without consulting them then—or now. Collectively, the affiliates say their studios are a key part of what enables many of them to stay in the Bay Area, a region so many artists have fled over the years because it’s simply “so much easier to be somewhere else,” they say. \u003c/p>\n\u003cp>Especially during the pandemic, Headlands has become a place where they can still be together, albeit in more distant ways, going for walks and maintaining a sense of community rooted in place. “Losing this space that allows for us to be here and to work here is really hurtful,” they say. “We don’t want to go away, we don’t want to go anywhere else.”\u003c/p>\n\u003cfigure id=\"attachment_13887266\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/Thematic_Palliative-Care_photo_by_TomIde_1200.jpg\" alt=\"\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13887266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Thematic_Palliative-Care_photo_by_TomIde_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Thematic_Palliative-Care_photo_by_TomIde_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Thematic_Palliative-Care_photo_by_TomIde_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Thematic_Palliative-Care_photo_by_TomIde_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Thematic_Palliative-Care_photo_by_TomIde_1200-768x512.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Headlands Center for the Arts Program Director Sean Uyehara speaking with participants of the Thematic Residency on Palliative Care Futures and Psychedelic Medicines, in January, 2020. \u003ccite>(Tom Ide)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Adding to the sense of abandonment are other parts of Headlands’ reformulated plan for 2021: two newly created and generously funded fellowships, \u003ca href=\"http://www.headlands.org/program/bay-area-fellowship-program/\" rel=\"noopener noreferrer\" target=\"_blank\">one for Bay Area artists\u003c/a>, the other for \u003ca href=\"http://www.headlands.org/program/threshold-fellowship/\" rel=\"noopener noreferrer\" target=\"_blank\">multidisciplinary cohorts\u003c/a>. With these new programs, Headlands will work with less artists (Uyehara envisions the Bay Area Fellowship will launch with three artists, but aims to expand it for 8–10), but more deeply and responsively.\u003c/p>\n\u003cp>Each Bay Area fellow will receive a $15,000 honorarium per year over two years, along with the option for health insurance and an “$8,000 pot” to use towards their material and immaterial fellowship needs, Uyehara says. Applications open January 2021.\u003c/p>\n\u003cp>The Threshold Fellowship will gather artists and experts to “explore critical issues” in the vein of Headlands’ previous thematic residencies. Three fellows will receive $10,000 each, time and space at Headlands and additional monetary and administrative support to develop programs and activities over the course of a year. \u003c/p>\n\u003cp>Uyehara describes both fellowships as providing deeper support to artists than past residencies. Instead of a one-size-fits-all approach, working with fewer people will allow Headlands staff to be more responsive to individual fellows’ needs, to help them craft a program that serves their particular practice in that moment.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Uyehara is aware it’s going to be hard to separate the end of the affiliate program from the launch of the Bay Area fellowship, but stresses they’re two very separate decisions. “It’s really intended to vest and fully express the organization’s intention to become a more equitable institution,” he says of the fellowship. “It’s not intended that that equity would come at the price of the local artists. I don’t think that there’s a way to unhinge those things, but it’s never intended that the new programs would replace the old ones.”\u003c/p>\n\u003cp>Affiliates point out their current cohort is possibly the most diverse group of artists the program has accepted in recent years—and if equity is the goal, they question why Headlands would dissolve a program that is already successful.\u003c/p>\n\u003cp>But the real problem, Uyehara says with a sigh, is timing—the affiliates were supposed to have much more lead time to know their program was ending.\u003c/p>\n\u003ch2>Ensuring Futures\u003c/h2>\n\u003cp>In an attempt to cushion the blow of losing their studios, affiliates will be offered six to nine months of free studio space in Headlands’ lower campus buildings over the course of the next few years. The affiliates appreciate this gesture, but they believe their needs are once again not taking priority: their understanding is that their studio time is to be slotted around rescheduled residencies of Bay Area and California artists from the 2020 cohort, which will now take place only in the summer months. \u003c/p>\n\u003cp>“It’s not the affiliate program,” they say. “There’s no kind of support, programs, or explanation of how we will be presented. It’s just studio space.” \u003c/p>\n\u003cp>Meanwhile, Headlands is still negotiating with the Park Service to secure a long-term lease on the lower campus buildings. Buildings 960 and 961 may facilitate that process. “Part of what makes dealing with the Park easier is the return of the buildings,” Uyehara says.\u003c/p>\n\u003cp>And while it seems there is little time or room to alter the outcome of today’s announcement, the affiliate artists are committed to doing everything they can to ensure the future of their program. To that end, they’ve over gathered 50 emails of support from former affiliates who credit the program with substantially influencing their professional lives. \u003c/p>\n\u003cp>For now, the affiliate artists, 13 graduate fellows and two Tournesol awardees are the only artists at Headlands. The affiliate artists find this fact particularly poignant.\u003c/p>\n\u003cp>“I wish they valued us as much as they say they will value artists of the future,” say the affiliates.\u003c/p>\n\u003cp>\u003ci>This story has been updated to reflect the fact that 15 artists in addition to the affiliates are also currently working at Headlands.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"order": 1
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"id": "code-switch-life-kit",
"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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"meta": {
"site": "radio",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"meta": {
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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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.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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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": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
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