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"content": "\u003cp>On the floor of a very different Democratic National Convention—this one in the Miami Convention Center, packed with maskless people, glad-handing everywhere—Top Value Television (TVTV) trained its video cameras on the in-between moments of a political spectacle. It was 1972, and a scrappy group of “video freaks” from San Francisco wanted to change the way television was made.\u003c/p>\n\u003cp>With 28 press passes in hand, the fledgling group shot hundreds of hours of footage at the DNC and RNC, which took place at the same venue just a month later. TVTV captured official votes and speeches, but also backroom discussions, Miami sightseeing, \u003ci>Newsweek\u003c/i> interviewing \u003ci>them\u003c/i> poolside, and, most notably, interactions with network television crews.\u003c/p>\n\u003cp>The official results of this new journalism endeavor were two hour-long, scrapbook-like documentaries, \u003cem>The World’s Largest TV Studio\u003c/em> (about the DNC) and \u003cem>Four More Years\u003c/em> (its RNC companion), initially screened on select cable channels and later available via video distribution services, or more recently, \u003ca href=\"http://www.tvtvnow.com/\" target=\"_blank\" rel=\"noopener noreferrer\">online\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13885016\" class=\"wp-caption aligncenter\" style=\"max-width: 967px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885016\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/tvtv-crew.jpg\" alt=\"\" width=\"967\" height=\"771\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtv-crew.jpg 967w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtv-crew-800x638.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtv-crew-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtv-crew-768x612.jpg 768w\" sizes=\"(max-width: 967px) 100vw, 967px\">\u003cfigcaption class=\"wp-caption-text\">Approximately half the TVTV crew from the 1972 Convention tapes with the TVTV media van in Miami. \u003ccite>(Courtesy TVTV and Berkeley Art Museum and Pacific Film Archive, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But now, for the first time, the whole of that raw footage—in-between the in-between moments—will be available to the public at “\u003ca href=\"https://guerrillatv.bampfa.berkeley.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Preserving Guerrilla Television\u003c/a>” and soon, the \u003ca href=\"https://archive.org/search.php?query=creator%3A%22TVTV+%28Top+Value+Television%29%22\" rel=\"noopener noreferrer\" target=\"_blank\">Internet Archive\u003c/a>, the result of a National Endowment for Humanities grant to the Berkeley Art Museum and Pacific Film Archive. The newly digitized video captures what local archivist, filmmaker and educator \u003ca href=\"https://guerrillatv.bampfa.berkeley.edu/essays/2020-08-10_rick-prelinger-revolutionary-rectangle.html\" target=\"_blank\" rel=\"noopener noreferrer\">Rick Prelinger calls\u003c/a> “the flavor of TVTV’s work.” The raw footage contains extended “raps” by protesters and delegates, casual interviews with people who would become political heavyweights (a young John Lewis!), and a very real sense of Americans’ thoughts and concerns during a pivotal year.\u003c/p>\n\u003cp>A grant of $220,537 allowed BAMPFA to digitize 437 analog videos related to three TVTV projects: the two convention docs and \u003cem>Gerald Ford’s America\u003c/em>, which shows the videomakers embedded in another spectacle, the first hundred days of Ford’s presidency after Nixon’s 1974 resignation. The grant also paid for scanning and photographing \u003ca href=\"https://digicoll.lib.berkeley.edu/search?ln=en&p=collection%3A%27Top+Value+Television+papers%27&f=&rm=&ln=en&sf=title&so=a&rg=100&c=Digital+Collections&of=hb&fti=0&fti=0\" target=\"_blank\" rel=\"noopener noreferrer\">thousands of pages\u003c/a> of paperwork, press clippings, scrapbooks and other TVTV ephemera.\u003c/p>\n\u003cfigure id=\"attachment_13885017\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885017\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/tvtvpostermailer_1200.jpg\" alt=\"\" width=\"1200\" height=\"826\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtvpostermailer_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtvpostermailer_1200-800x551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtvpostermailer_1200-1020x702.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtvpostermailer_1200-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtvpostermailer_1200-768x529.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A TVTV poster promoting their 1972 convention documentaries. \u003ccite>(Courtesy TVTV and Berkeley Art Museum and Pacific Film Archive, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s the culmination (in part) of a project that traces its roots back to a 2004 Ant Farm retrospective at BAMPFA, co-organized by then-video curator Steve Seid. (The Ant Farm and TVTV collectives shared members.) I specify “in part” because according to Michael Campos-Quinn, director of library special projects at BAMPFA’s Film Library and Study Center, this digitization project is “just the tip of the iceberg.” They actually have thousands of TVTV tapes, not to mention the work of other Bay Area video collectives.\u003c/p>\n\u003cp>“It’s so incredibly expensive to digitize the kind of tape that these are on,” Campos-Quinn explains. The videos are on half-inch open-reel tapes, one of the first portable videotape formats available to consumers in the late ’60s. With (relatively light) equipment like the Sony Portapak, guerrilla video groups could move nimbly through crowds, and produce media for a fraction of what the major networks spent covering the same event.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It was basically a game changer in terms of how people were able to document themselves and document their own reality,” Campos-Quinn says. “But the tape itself is a consumer product and it’s just fundamentally unstable. We’re at the point now where the tapes are starting to degrade past the point of being able to play them.”\u003c/p>\n\u003cp>“Long story short, we have thousands of tapes that are in dire need of transfer,” he says. Even the equipment needed to play TVTV’s tapes is super rare; BAMPFA worked with a Pennsylvania company called The MediaPreserve to digitize this collection.\u003c/p>\n\u003cfigure id=\"attachment_13885018\" class=\"wp-caption aligncenter\" style=\"max-width: 970px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885018\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/TVTV_BAMPFA_004.jpg\" alt=\"\" width=\"970\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TVTV_BAMPFA_004.jpg 970w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TVTV_BAMPFA_004-800x619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TVTV_BAMPFA_004-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TVTV_BAMPFA_004-768x594.jpg 768w\" sizes=\"(max-width: 970px) 100vw, 970px\">\u003cfigcaption class=\"wp-caption-text\">TVTV interviews a tired Walter Cronkite in the aftermath of the 1972 Democratic National Convention. \u003ccite>(Courtesy TVTV and Berkeley Art Museum and Pacific Film Archive, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Knowledge of this scarcity—and this precarity—makes what is now digitized all the more engaging. When the collective disbanded in 1977, many of TVTV’s members went on to impressive careers in Hollywood, documentary filmmaking and the art world. But in the early 1970s, Michael Shamberg, Allen Rucker, Megan Williams, Chip Lord, Hudson Marquez and Doug Michels (among others) were eager 20-somethings, full of ideas about the potential of television and eager to put them to the test.\u003c/p>\n\u003cp>They believed the type of equipment they used determined, in part, the type of information they’d be able to gather. They wanted to create “special purpose media,” not mass media, and provide a space for people express their own views. And they went about their project methodically, designing \u003ca href=\"https://digicoll.lib.berkeley.edu/record/91916?ln=en#?c=0&m=0&s=0&cv=0&r=0&xywh=-506%2C-224%2C5938%2C4479\" rel=\"noopener noreferrer\" target=\"_blank\">letterhead\u003c/a>, raising funds from various foundations and commercial enterprises, and selling shares when that failed. In the 1974 report \u003ci>\u003ca href=\"https://digicoll.lib.berkeley.edu/record/91927?ln=en\" target=\"_blank\" rel=\"noopener noreferrer\">Prime Time Survey\u003c/a>\u003c/i>, TVTV laid out their philosophy about opening up television, emphasizing their desire to figure things out through making, not just theorizing. “Projects are the best prophecies,” they wrote.\u003c/p>\n\u003cp>Their countercultural approach becomes most visible in the scrapbooks compiled while making \u003cem>\u003ca href=\"https://digicoll.lib.berkeley.edu/record/91910?ln=en#?c=0&m=0&s=0&cv=0&r=0&xywh=313%2C677%2C6044%2C4559\" target=\"_blank\" rel=\"noopener noreferrer\">The World’s Largest TV Studio\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"https://digicoll.lib.berkeley.edu/record/91911?ln=en#?c=0&m=0&s=0&cv=0&r=0&xywh=-1%2C1351%2C6995%2C5277\" target=\"_blank\" rel=\"noopener noreferrer\">Four More Years\u003c/a>\u003c/em>: the group parties in their Miami rental with nitrous oxide; the male members of TVTV are often shirtless; collages lampoon Nixon and then-California governor Ronald Reagan.\u003c/p>\n\u003cfigure id=\"attachment_13885019\" class=\"wp-caption aligncenter\" style=\"max-width: 1447px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885019\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/ice-cream.jpg\" alt=\"\" width=\"1447\" height=\"1143\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/ice-cream.jpg 1447w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/ice-cream-800x632.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/ice-cream-1020x806.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/ice-cream-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/ice-cream-768x607.jpg 768w\" sizes=\"(max-width: 1447px) 100vw, 1447px\">\u003cfigcaption class=\"wp-caption-text\">TVTV videomakers enjoy an ice cream. \u003ccite>(Courtesy TVTV and Berkeley Art Museum and Pacific Film Archive, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Breaking what were then the rules of nonfiction television, the artists of TVTV became characters in their own documentary, annotating scenes with both hand-written notes and staged commentary. After one particularly confusing speech at the DNC by delegate Willie Brown, a TVTV member leans into the frame to ask, “Did you understand that?”\u003c/p>\n\u003cp>The fact that they weren’t part of the “straight” media certainly facilitated some interactions, even if it hindered them in others (in \u003cem>The World’s Largest TV Studio\u003c/em>, the Secret Service is deeply skeptical of their press credentials). In raw footage from the RNC, a group of Vietnam Veterans Against the War joke they won’t let a TV crew through unless their cameraman has long hair. TVTV’s very unobtrusiveness means people just keep talking—about the Women’s Movement, the Vietnam War, or the eeriness of organized groups of Young Republicans.\u003c/p>\n\u003cp>One of those candid conversations captures John Lewis (then executive director of the Voter Education Project) and civil rights activist Tom Houck (then associate director of the Youth Citizenship Fund) at the RNC. Lewis expresses sadness at the sight of young people with “no sense of independence or spontaneity” supporting “something so out of date and obsolete” as the Republican platform.\u003c/p>\n\u003cp>https://vimeo.com/445270394\u003c/p>\n\u003cp>In another clip, following a gathering of the National Women’s Political Caucus (featuring Gloria Steinem, Betty Friedan and Bella Abzug), Florynce Kennedy and Margaret Sloan-Hunter discuss the challenges facing Black feminists within the feminist movement and wider society. It sounds, unfortunately, very reminiscent of the conversations we’re still having in 2020.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://archive.org/embed/worlds-largest-studio-025_16235_PM0040800_r01of01\" width=\"800\" frameborder=\"0\" webkitallowfullscreen=\"true\" mozallowfullscreen=\"true\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Campos-Quinn says he experienced the same feeling. “It’s a really wild thing to look at the footage and see how completely relevant what happened then is to today,” he says.\u003c/p>\n\u003cp>Halfway through the 2020 DNC, looking ahead to the RNC, there’s \u003ca href=\"https://www.nytimes.com/2020/06/13/us/politics/trump-lessons-nixon.html\" target=\"_blank\" rel=\"noopener noreferrer\">plenty to compare\u003c/a> between our current political circumstances and those of 1972. The media landscape has changed greatly, and yet we’re still searching for approaches to mediamaking that might achieve TVTV’s ultimate goal: entertainment that enhances awareness instead of numbing it.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the floor of a very different Democratic National Convention—this one in the Miami Convention Center, packed with maskless people, glad-handing everywhere—Top Value Television (TVTV) trained its video cameras on the in-between moments of a political spectacle. It was 1972, and a scrappy group of “video freaks” from San Francisco wanted to change the way television was made.\u003c/p>\n\u003cp>With 28 press passes in hand, the fledgling group shot hundreds of hours of footage at the DNC and RNC, which took place at the same venue just a month later. TVTV captured official votes and speeches, but also backroom discussions, Miami sightseeing, \u003ci>Newsweek\u003c/i> interviewing \u003ci>them\u003c/i> poolside, and, most notably, interactions with network television crews.\u003c/p>\n\u003cp>The official results of this new journalism endeavor were two hour-long, scrapbook-like documentaries, \u003cem>The World’s Largest TV Studio\u003c/em> (about the DNC) and \u003cem>Four More Years\u003c/em> (its RNC companion), initially screened on select cable channels and later available via video distribution services, or more recently, \u003ca href=\"http://www.tvtvnow.com/\" target=\"_blank\" rel=\"noopener noreferrer\">online\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13885016\" class=\"wp-caption aligncenter\" style=\"max-width: 967px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885016\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/tvtv-crew.jpg\" alt=\"\" width=\"967\" height=\"771\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtv-crew.jpg 967w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtv-crew-800x638.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtv-crew-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtv-crew-768x612.jpg 768w\" sizes=\"(max-width: 967px) 100vw, 967px\">\u003cfigcaption class=\"wp-caption-text\">Approximately half the TVTV crew from the 1972 Convention tapes with the TVTV media van in Miami. \u003ccite>(Courtesy TVTV and Berkeley Art Museum and Pacific Film Archive, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But now, for the first time, the whole of that raw footage—in-between the in-between moments—will be available to the public at “\u003ca href=\"https://guerrillatv.bampfa.berkeley.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Preserving Guerrilla Television\u003c/a>” and soon, the \u003ca href=\"https://archive.org/search.php?query=creator%3A%22TVTV+%28Top+Value+Television%29%22\" rel=\"noopener noreferrer\" target=\"_blank\">Internet Archive\u003c/a>, the result of a National Endowment for Humanities grant to the Berkeley Art Museum and Pacific Film Archive. The newly digitized video captures what local archivist, filmmaker and educator \u003ca href=\"https://guerrillatv.bampfa.berkeley.edu/essays/2020-08-10_rick-prelinger-revolutionary-rectangle.html\" target=\"_blank\" rel=\"noopener noreferrer\">Rick Prelinger calls\u003c/a> “the flavor of TVTV’s work.” The raw footage contains extended “raps” by protesters and delegates, casual interviews with people who would become political heavyweights (a young John Lewis!), and a very real sense of Americans’ thoughts and concerns during a pivotal year.\u003c/p>\n\u003cp>A grant of $220,537 allowed BAMPFA to digitize 437 analog videos related to three TVTV projects: the two convention docs and \u003cem>Gerald Ford’s America\u003c/em>, which shows the videomakers embedded in another spectacle, the first hundred days of Ford’s presidency after Nixon’s 1974 resignation. The grant also paid for scanning and photographing \u003ca href=\"https://digicoll.lib.berkeley.edu/search?ln=en&p=collection%3A%27Top+Value+Television+papers%27&f=&rm=&ln=en&sf=title&so=a&rg=100&c=Digital+Collections&of=hb&fti=0&fti=0\" target=\"_blank\" rel=\"noopener noreferrer\">thousands of pages\u003c/a> of paperwork, press clippings, scrapbooks and other TVTV ephemera.\u003c/p>\n\u003cfigure id=\"attachment_13885017\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885017\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/tvtvpostermailer_1200.jpg\" alt=\"\" width=\"1200\" height=\"826\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtvpostermailer_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtvpostermailer_1200-800x551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtvpostermailer_1200-1020x702.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtvpostermailer_1200-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/tvtvpostermailer_1200-768x529.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A TVTV poster promoting their 1972 convention documentaries. \u003ccite>(Courtesy TVTV and Berkeley Art Museum and Pacific Film Archive, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s the culmination (in part) of a project that traces its roots back to a 2004 Ant Farm retrospective at BAMPFA, co-organized by then-video curator Steve Seid. (The Ant Farm and TVTV collectives shared members.) I specify “in part” because according to Michael Campos-Quinn, director of library special projects at BAMPFA’s Film Library and Study Center, this digitization project is “just the tip of the iceberg.” They actually have thousands of TVTV tapes, not to mention the work of other Bay Area video collectives.\u003c/p>\n\u003cp>“It’s so incredibly expensive to digitize the kind of tape that these are on,” Campos-Quinn explains. The videos are on half-inch open-reel tapes, one of the first portable videotape formats available to consumers in the late ’60s. With (relatively light) equipment like the Sony Portapak, guerrilla video groups could move nimbly through crowds, and produce media for a fraction of what the major networks spent covering the same event.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It was basically a game changer in terms of how people were able to document themselves and document their own reality,” Campos-Quinn says. “But the tape itself is a consumer product and it’s just fundamentally unstable. We’re at the point now where the tapes are starting to degrade past the point of being able to play them.”\u003c/p>\n\u003cp>“Long story short, we have thousands of tapes that are in dire need of transfer,” he says. Even the equipment needed to play TVTV’s tapes is super rare; BAMPFA worked with a Pennsylvania company called The MediaPreserve to digitize this collection.\u003c/p>\n\u003cfigure id=\"attachment_13885018\" class=\"wp-caption aligncenter\" style=\"max-width: 970px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885018\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/TVTV_BAMPFA_004.jpg\" alt=\"\" width=\"970\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TVTV_BAMPFA_004.jpg 970w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TVTV_BAMPFA_004-800x619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TVTV_BAMPFA_004-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TVTV_BAMPFA_004-768x594.jpg 768w\" sizes=\"(max-width: 970px) 100vw, 970px\">\u003cfigcaption class=\"wp-caption-text\">TVTV interviews a tired Walter Cronkite in the aftermath of the 1972 Democratic National Convention. \u003ccite>(Courtesy TVTV and Berkeley Art Museum and Pacific Film Archive, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Knowledge of this scarcity—and this precarity—makes what is now digitized all the more engaging. When the collective disbanded in 1977, many of TVTV’s members went on to impressive careers in Hollywood, documentary filmmaking and the art world. But in the early 1970s, Michael Shamberg, Allen Rucker, Megan Williams, Chip Lord, Hudson Marquez and Doug Michels (among others) were eager 20-somethings, full of ideas about the potential of television and eager to put them to the test.\u003c/p>\n\u003cp>They believed the type of equipment they used determined, in part, the type of information they’d be able to gather. They wanted to create “special purpose media,” not mass media, and provide a space for people express their own views. And they went about their project methodically, designing \u003ca href=\"https://digicoll.lib.berkeley.edu/record/91916?ln=en#?c=0&m=0&s=0&cv=0&r=0&xywh=-506%2C-224%2C5938%2C4479\" rel=\"noopener noreferrer\" target=\"_blank\">letterhead\u003c/a>, raising funds from various foundations and commercial enterprises, and selling shares when that failed. In the 1974 report \u003ci>\u003ca href=\"https://digicoll.lib.berkeley.edu/record/91927?ln=en\" target=\"_blank\" rel=\"noopener noreferrer\">Prime Time Survey\u003c/a>\u003c/i>, TVTV laid out their philosophy about opening up television, emphasizing their desire to figure things out through making, not just theorizing. “Projects are the best prophecies,” they wrote.\u003c/p>\n\u003cp>Their countercultural approach becomes most visible in the scrapbooks compiled while making \u003cem>\u003ca href=\"https://digicoll.lib.berkeley.edu/record/91910?ln=en#?c=0&m=0&s=0&cv=0&r=0&xywh=313%2C677%2C6044%2C4559\" target=\"_blank\" rel=\"noopener noreferrer\">The World’s Largest TV Studio\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"https://digicoll.lib.berkeley.edu/record/91911?ln=en#?c=0&m=0&s=0&cv=0&r=0&xywh=-1%2C1351%2C6995%2C5277\" target=\"_blank\" rel=\"noopener noreferrer\">Four More Years\u003c/a>\u003c/em>: the group parties in their Miami rental with nitrous oxide; the male members of TVTV are often shirtless; collages lampoon Nixon and then-California governor Ronald Reagan.\u003c/p>\n\u003cfigure id=\"attachment_13885019\" class=\"wp-caption aligncenter\" style=\"max-width: 1447px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885019\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/ice-cream.jpg\" alt=\"\" width=\"1447\" height=\"1143\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/ice-cream.jpg 1447w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/ice-cream-800x632.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/ice-cream-1020x806.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/ice-cream-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/ice-cream-768x607.jpg 768w\" sizes=\"(max-width: 1447px) 100vw, 1447px\">\u003cfigcaption class=\"wp-caption-text\">TVTV videomakers enjoy an ice cream. \u003ccite>(Courtesy TVTV and Berkeley Art Museum and Pacific Film Archive, University of California, Berkeley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Breaking what were then the rules of nonfiction television, the artists of TVTV became characters in their own documentary, annotating scenes with both hand-written notes and staged commentary. After one particularly confusing speech at the DNC by delegate Willie Brown, a TVTV member leans into the frame to ask, “Did you understand that?”\u003c/p>\n\u003cp>The fact that they weren’t part of the “straight” media certainly facilitated some interactions, even if it hindered them in others (in \u003cem>The World’s Largest TV Studio\u003c/em>, the Secret Service is deeply skeptical of their press credentials). In raw footage from the RNC, a group of Vietnam Veterans Against the War joke they won’t let a TV crew through unless their cameraman has long hair. TVTV’s very unobtrusiveness means people just keep talking—about the Women’s Movement, the Vietnam War, or the eeriness of organized groups of Young Republicans.\u003c/p>\n\u003cp>One of those candid conversations captures John Lewis (then executive director of the Voter Education Project) and civil rights activist Tom Houck (then associate director of the Youth Citizenship Fund) at the RNC. Lewis expresses sadness at the sight of young people with “no sense of independence or spontaneity” supporting “something so out of date and obsolete” as the Republican platform.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In another clip, following a gathering of the National Women’s Political Caucus (featuring Gloria Steinem, Betty Friedan and Bella Abzug), Florynce Kennedy and Margaret Sloan-Hunter discuss the challenges facing Black feminists within the feminist movement and wider society. It sounds, unfortunately, very reminiscent of the conversations we’re still having in 2020.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://archive.org/embed/worlds-largest-studio-025_16235_PM0040800_r01of01\" width=\"800\" frameborder=\"0\" webkitallowfullscreen=\"true\" mozallowfullscreen=\"true\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Campos-Quinn says he experienced the same feeling. “It’s a really wild thing to look at the footage and see how completely relevant what happened then is to today,” he says.\u003c/p>\n\u003cp>Halfway through the 2020 DNC, looking ahead to the RNC, there’s \u003ca href=\"https://www.nytimes.com/2020/06/13/us/politics/trump-lessons-nixon.html\" target=\"_blank\" rel=\"noopener noreferrer\">plenty to compare\u003c/a> between our current political circumstances and those of 1972. The media landscape has changed greatly, and yet we’re still searching for approaches to mediamaking that might achieve TVTV’s ultimate goal: entertainment that enhances awareness instead of numbing it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>[dropcap]T[/dropcap]he schism was glaring. In 1915, San Francisco’s Panama-Pacific International Exposition heralded itself as a showcase of modernity and progress. But for the duration of its nearly yearlong run, the world’s fair sold tickets to games and presentations so blatantly racist they sparked a Black-led demonstration that reverberated across the Bay area.\u003c/p>\n\u003cp>In the amusement section of the fair—known as the Joy Zone—booths like \u003ca href=\"http://davegilson.com/african-dip.html\" target=\"_blank\" rel=\"noopener noreferrer\">The African Dip\u003c/a>, \u003ca href=\"http://davegilson.com/african-dip.html\" target=\"_blank\" rel=\"noopener noreferrer\">Soa Kum\u003c/a> and \u003ca href=\"https://link.springer.com/article/10.1007/s12138-019-00531-5\" target=\"_blank\" rel=\"noopener noreferrer\">Dixieland\u003c/a> used enormous racist effigies on their exteriors to attract visitors. The Dixieland booth even peddled old lies about “the antebellum days in the South,” when “the slaves were about the happiest and carefree beings on earth.” Nearby, in the Palace of Food Products, at the Sperry Flour Booth, Black women sold pancakes while dressed in full “mammy” attire.\u003c/p>\n\u003cp>[aside postid='arts_13881675']After four months of witnessing these displays, Black communities from around the Bay Area converged on San Francisco’s Ferry Building and formed a parade. The turnout was enormous; the \u003cem>Oakland Sunshine\u003c/em> reported, “Everybody shut up shop and [got] themselves across the channel.” A jubilant demonstration of flower-covered floats, choirs, flag-waving schoolchildren, streetcars full of Black women’s clubs and everyday workers moved down Market Street and, at Van Ness, entered the Joy Zone. The parade then proudly marched across the entire fair.\u003c/p>\n\u003cp>This was Alameda County Day: an event intricately organized not just to dispel the stereotypes on show at the fair, but to illustrate Black people’s contributions to the city, county and state. Leaving race out of the event’s title was a very specific decision—organizers had scrapped plans for a “Negro Day” just months earlier. Participants had no interest in being tokenized. This wasn’t merely about skin tone; it was a demand to be seen and treated as fellow, equal citizens.\u003c/p>\n\u003cp>At the time, the \u003cem>San Francisco Chronicle\u003c/em> called the event “a revelation.” Journalist \u003ca href=\"https://www.kqed.org/pop/102326/rebel-girls-from-bay-area-history-delilah-l-beasley-pioneering-journalist\" target=\"_blank\" rel=\"noopener noreferrer\">Delilah L. Beasley\u003c/a> wrote in the \u003cem>Oakland Sunshine\u003c/em>: “The mere fact that colored children marched through the streets of San Francisco, carrying the Stars and Stripes, showed a decided advance and change of feeling toward the colored race in these parts.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The chairman of the committee that organized Alameda County Day wasn’t a man at all. She was a Black woman by the name of Myra Virginia Simmons. Her day jobs might have been decidedly low-key—the 35-year-old Oakland resident sold newspapers and worked as a domestic cook. But, to women and people of color around the Bay Area, she was a formidable campaigner and community leader.\u003c/p>\n\u003cfigure id=\"attachment_13884866\" class=\"wp-caption alignnone\" style=\"max-width: 522px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884866\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Screen-Shot-2020-08-14-at-2.54.49-PM.png\" alt=\"A postcard commemorating the Panama–Pacific International Exposition. Its nickname, Jewel City, was the invention of a young girl named Virginia Stephens who had won a competition held by PPIE officials, to name the fair. Only when she participated in Alameda County Day did they find out she was Black.\" width=\"522\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-14-at-2.54.49-PM.png 522w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-14-at-2.54.49-PM-160x104.png 160w\" sizes=\"auto, (max-width: 522px) 100vw, 522px\">\u003cfigcaption class=\"wp-caption-text\">A postcard commemorating the Panama–Pacific International Exposition. Its nickname, Jewel City, was the invention of a young girl named Virginia Stephens who had won a competition held by PPIE officials, to name the fair. Only when she participated in Alameda County Day did they find out she was Black.\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]S[/dropcap]immons had already served in an impressive number of capacities by the time Alameda County Day occurred on June 10, 1915. She was chair of the Women’s Civic and Progressive League in Oakland; president of the Colored American Equal Suffrage League; a sometimes speaker before the Woman’s Christian Temperance Union; a leader of the Alameda County Colored Americans; and president of the Civic Center Auxiliary, a Black women’s club.\u003c/p>\n\u003cp>[aside postid='pop_102326']Prior to Alameda County Day, the Civic Center Auxiliary had also taken the lead in a large protest against the conditions in San Quentin for inmates of color. Later it led protests alongside the NAACP against the glorification of the KKK and vilification of Black men in the 1916 movie \u003cem>The Birth of a Nation\u003c/em>. But the majority of Simmons’ activist energy was spent on gaining voting rights for women.\u003c/p>\n\u003cp>After California women narrowly earned the right to vote in 1911—by a margin of just \u003ca href=\"https://www.sos.ca.gov/elections/celebrating-womens-suffrage/california-women-suffrage-centennial/\" target=\"_blank\" rel=\"noopener noreferrer\">3,587 votes\u003c/a>—Simmons only worked harder. A Nov. 23, 1911 edition of the \u003cem>San Francisco Call\u003c/em> newspaper reported that she was actively educating women about their voting rights and encouraging them to be politically active. She even went on to serve as a \u003ca href=\"https://elenorrooseveltdemocrats.org/?page_id=299\" target=\"_blank\" rel=\"noopener noreferrer\">precinct captain\u003c/a> during the first California election open to women.\u003c/p>\n\u003cp>The national battle for women’s suffrage, however, was still to be won, and women’s clubs were of vital importance, both socially and politically, in achieving this. Black women’s clubs, like Simmons’ Civic Center Auxiliary, and Oakland’s Fannie Jackson Coppin Club (named after the first Black woman to become a school principal) were focused on both civil and voting rights. Other women’s clubs, like San Francisco’s Votes For Women (led by the Pacific coast’s first female lawyer, \u003ca href=\"https://www.kqed.org/arts/13863165/the-wests-first-lady-lawyer-opened-doors-for-women-in-law\" target=\"_blank\" rel=\"noopener noreferrer\">Clara Shortridge Foltz\u003c/a>) were more singular in their focus. San Jose’s interracial Suffrage Amendment League was one of several examples of women working together across racial boundaries.\u003c/p>\n\u003cp>The passage of the 19th Amendment in 1920 was made possible by the dogged work of these women’s organizational and outreach efforts. Simmons herself was such an active campaigner that her name regularly showed up in newspapers around the Bay, as she led high-profile planning meetings with her peers. (On just one page of the March 29, 1915 issue of the \u003cem>Oakland Sunshine\u003c/em>, she is mentioned in \u003ca href=\"https://texashistory.unt.edu/ark:/67531/metapth523614/m1/3/?q=Myra%20Virginia%20Simmons\" target=\"_blank\" rel=\"noopener noreferrer\">three separate stories\u003c/a>.)\u003c/p>\n\u003cp>[aside postid='arts_13892514']Many thousands of women fought for suffrage in the first decades of the 20th century, but Simmons went above and beyond; she was a natural born leader for whom no civic challenge was too great. She spent much of her later life in San Francisco, and lived to see the passage of 1964’s Civil Rights Act.\u003c/p>\n\u003cp>Myra Virginia Simmons died one year later at the age of 84. As is so often the case with suffragists of the period, photos of her remain elusive. Yet it seems highly likely she would have been present for the Oakland gathering of the California Federation of Colored Women’s Clubs in July 1915, as pictured at the top of this article. Though we cannot know which woman she is in the photo, in many ways she is all of them: determined, proud and poised to make a change.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>For stories on other Rebel Girls from Bay Area History, click \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>A book celebrating women from the Rebel Girls series, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">‘Unsung Heroines: 35 Women Who Changed the Bay Area,’\u003c/a> is available now from City Lights.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Myra Virginia Simmons' tireless organizing helped gain California women—and eventually all American women—the right to vote.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>he schism was glaring. In 1915, San Francisco’s Panama-Pacific International Exposition heralded itself as a showcase of modernity and progress. But for the duration of its nearly yearlong run, the world’s fair sold tickets to games and presentations so blatantly racist they sparked a Black-led demonstration that reverberated across the Bay area.\u003c/p>\n\u003cp>In the amusement section of the fair—known as the Joy Zone—booths like \u003ca href=\"http://davegilson.com/african-dip.html\" target=\"_blank\" rel=\"noopener noreferrer\">The African Dip\u003c/a>, \u003ca href=\"http://davegilson.com/african-dip.html\" target=\"_blank\" rel=\"noopener noreferrer\">Soa Kum\u003c/a> and \u003ca href=\"https://link.springer.com/article/10.1007/s12138-019-00531-5\" target=\"_blank\" rel=\"noopener noreferrer\">Dixieland\u003c/a> used enormous racist effigies on their exteriors to attract visitors. The Dixieland booth even peddled old lies about “the antebellum days in the South,” when “the slaves were about the happiest and carefree beings on earth.” Nearby, in the Palace of Food Products, at the Sperry Flour Booth, Black women sold pancakes while dressed in full “mammy” attire.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>After four months of witnessing these displays, Black communities from around the Bay Area converged on San Francisco’s Ferry Building and formed a parade. The turnout was enormous; the \u003cem>Oakland Sunshine\u003c/em> reported, “Everybody shut up shop and [got] themselves across the channel.” A jubilant demonstration of flower-covered floats, choirs, flag-waving schoolchildren, streetcars full of Black women’s clubs and everyday workers moved down Market Street and, at Van Ness, entered the Joy Zone. The parade then proudly marched across the entire fair.\u003c/p>\n\u003cp>This was Alameda County Day: an event intricately organized not just to dispel the stereotypes on show at the fair, but to illustrate Black people’s contributions to the city, county and state. Leaving race out of the event’s title was a very specific decision—organizers had scrapped plans for a “Negro Day” just months earlier. Participants had no interest in being tokenized. This wasn’t merely about skin tone; it was a demand to be seen and treated as fellow, equal citizens.\u003c/p>\n\u003cp>At the time, the \u003cem>San Francisco Chronicle\u003c/em> called the event “a revelation.” Journalist \u003ca href=\"https://www.kqed.org/pop/102326/rebel-girls-from-bay-area-history-delilah-l-beasley-pioneering-journalist\" target=\"_blank\" rel=\"noopener noreferrer\">Delilah L. Beasley\u003c/a> wrote in the \u003cem>Oakland Sunshine\u003c/em>: “The mere fact that colored children marched through the streets of San Francisco, carrying the Stars and Stripes, showed a decided advance and change of feeling toward the colored race in these parts.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The chairman of the committee that organized Alameda County Day wasn’t a man at all. She was a Black woman by the name of Myra Virginia Simmons. Her day jobs might have been decidedly low-key—the 35-year-old Oakland resident sold newspapers and worked as a domestic cook. But, to women and people of color around the Bay Area, she was a formidable campaigner and community leader.\u003c/p>\n\u003cfigure id=\"attachment_13884866\" class=\"wp-caption alignnone\" style=\"max-width: 522px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884866\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Screen-Shot-2020-08-14-at-2.54.49-PM.png\" alt=\"A postcard commemorating the Panama–Pacific International Exposition. Its nickname, Jewel City, was the invention of a young girl named Virginia Stephens who had won a competition held by PPIE officials, to name the fair. Only when she participated in Alameda County Day did they find out she was Black.\" width=\"522\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-14-at-2.54.49-PM.png 522w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-14-at-2.54.49-PM-160x104.png 160w\" sizes=\"auto, (max-width: 522px) 100vw, 522px\">\u003cfigcaption class=\"wp-caption-text\">A postcard commemorating the Panama–Pacific International Exposition. Its nickname, Jewel City, was the invention of a young girl named Virginia Stephens who had won a competition held by PPIE officials, to name the fair. Only when she participated in Alameda County Day did they find out she was Black.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">S\u003c/span>\u003c/p>\u003cp>immons had already served in an impressive number of capacities by the time Alameda County Day occurred on June 10, 1915. She was chair of the Women’s Civic and Progressive League in Oakland; president of the Colored American Equal Suffrage League; a sometimes speaker before the Woman’s Christian Temperance Union; a leader of the Alameda County Colored Americans; and president of the Civic Center Auxiliary, a Black women’s club.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Prior to Alameda County Day, the Civic Center Auxiliary had also taken the lead in a large protest against the conditions in San Quentin for inmates of color. Later it led protests alongside the NAACP against the glorification of the KKK and vilification of Black men in the 1916 movie \u003cem>The Birth of a Nation\u003c/em>. But the majority of Simmons’ activist energy was spent on gaining voting rights for women.\u003c/p>\n\u003cp>After California women narrowly earned the right to vote in 1911—by a margin of just \u003ca href=\"https://www.sos.ca.gov/elections/celebrating-womens-suffrage/california-women-suffrage-centennial/\" target=\"_blank\" rel=\"noopener noreferrer\">3,587 votes\u003c/a>—Simmons only worked harder. A Nov. 23, 1911 edition of the \u003cem>San Francisco Call\u003c/em> newspaper reported that she was actively educating women about their voting rights and encouraging them to be politically active. She even went on to serve as a \u003ca href=\"https://elenorrooseveltdemocrats.org/?page_id=299\" target=\"_blank\" rel=\"noopener noreferrer\">precinct captain\u003c/a> during the first California election open to women.\u003c/p>\n\u003cp>The national battle for women’s suffrage, however, was still to be won, and women’s clubs were of vital importance, both socially and politically, in achieving this. Black women’s clubs, like Simmons’ Civic Center Auxiliary, and Oakland’s Fannie Jackson Coppin Club (named after the first Black woman to become a school principal) were focused on both civil and voting rights. Other women’s clubs, like San Francisco’s Votes For Women (led by the Pacific coast’s first female lawyer, \u003ca href=\"https://www.kqed.org/arts/13863165/the-wests-first-lady-lawyer-opened-doors-for-women-in-law\" target=\"_blank\" rel=\"noopener noreferrer\">Clara Shortridge Foltz\u003c/a>) were more singular in their focus. San Jose’s interracial Suffrage Amendment League was one of several examples of women working together across racial boundaries.\u003c/p>\n\u003cp>The passage of the 19th Amendment in 1920 was made possible by the dogged work of these women’s organizational and outreach efforts. Simmons herself was such an active campaigner that her name regularly showed up in newspapers around the Bay, as she led high-profile planning meetings with her peers. (On just one page of the March 29, 1915 issue of the \u003cem>Oakland Sunshine\u003c/em>, she is mentioned in \u003ca href=\"https://texashistory.unt.edu/ark:/67531/metapth523614/m1/3/?q=Myra%20Virginia%20Simmons\" target=\"_blank\" rel=\"noopener noreferrer\">three separate stories\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Many thousands of women fought for suffrage in the first decades of the 20th century, but Simmons went above and beyond; she was a natural born leader for whom no civic challenge was too great. She spent much of her later life in San Francisco, and lived to see the passage of 1964’s Civil Rights Act.\u003c/p>\n\u003cp>Myra Virginia Simmons died one year later at the age of 84. As is so often the case with suffragists of the period, photos of her remain elusive. Yet it seems highly likely she would have been present for the Oakland gathering of the California Federation of Colored Women’s Clubs in July 1915, as pictured at the top of this article. Though we cannot know which woman she is in the photo, in many ways she is all of them: determined, proud and poised to make a change.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>For stories on other Rebel Girls from Bay Area History, click \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>A book celebrating women from the Rebel Girls series, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">‘Unsung Heroines: 35 Women Who Changed the Bay Area,’\u003c/a> is available now from City Lights.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Federal prosecutors Monday announced charges against two men alleged with killing Jason Mizell, better known as Jam Master Jay—the DJ for the seminal rap group Run-DMC. Mizell was shot inside a recording studio in 2002.\u003c/p>\n\u003cp>At a press conference, Seth DuCharme, the acting U.S. Attorney for the Eastern District of New York, named Karl Jordan Jr. and Ronald Washington as the alleged murderers. DuCharme didn’t go into detail about what led to the charges, but said, “Today we begin to answer that question, who killed Jason Mizell and why.”\u003c/p>\n\u003cp>According to newly filed court documents, the alleged murder was over a drug deal. Prosecutors say that Mizell was involved in trafficking cocaine across state lines, and that he had 10 kilograms of cocaine that Washington was supposed to sell in Maryland. Mizell then told Washington that he was being cut from the deal, which led to Washington and Jordan conspiring to kill him as retaliation. The two then allegedly entered the studio the night of the murder and “ultimately executed Mizell.”\u003c/p>\n\u003cp>As Jam Master Jay, Mizell was known as the backbone of Run-DMC, a group that was instrumental in bringing rap and hip hop into mainstream culture. Their third album, \u003cem>Raising Hell\u003c/em> (which featured hits like “It’s Tricky,” “My Adidas,” and “Walk This Way”), was the first rap album to go platinum, eventually reaching triple platinum status. Mizell also founded his own record label—JMJ Records—known for discovering such artists as Onyx and 50 Cent.\u003c/p>\n\u003cp>Mizell’s murder received on-and-off attention from authorities as well as \u003ca href=\"http://www.mtv.com/news/1576088/jam-master-jays-murder-a-timeline-and-the-key-players/\" target=\"_blank\" rel=\"noopener noreferrer\">the media\u003c/a>. The case was the center of a 2018 episode of the \u003ca href=\"https://www.youtube.com/watch?v=718bAMt_Qrk\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix documentary series \u003cem>ReMastered\u003c/em>,\u003c/a> that looked at not just the loose threads in the murder case but the lack of urgency from law enforcement in solving the killing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If charged, both Jordan and Washington face at least a 20 year prison sentence. Washington is currently serving time for robbery.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Two+Men+Charged+in+Cold+Case+Murder+of+Jam+Master+Jay&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Federal prosecutors Monday announced charges against two men alleged with killing Jason Mizell, better known as Jam Master Jay—the DJ for the seminal rap group Run-DMC. Mizell was shot inside a recording studio in 2002.\u003c/p>\n\u003cp>At a press conference, Seth DuCharme, the acting U.S. Attorney for the Eastern District of New York, named Karl Jordan Jr. and Ronald Washington as the alleged murderers. DuCharme didn’t go into detail about what led to the charges, but said, “Today we begin to answer that question, who killed Jason Mizell and why.”\u003c/p>\n\u003cp>According to newly filed court documents, the alleged murder was over a drug deal. Prosecutors say that Mizell was involved in trafficking cocaine across state lines, and that he had 10 kilograms of cocaine that Washington was supposed to sell in Maryland. Mizell then told Washington that he was being cut from the deal, which led to Washington and Jordan conspiring to kill him as retaliation. The two then allegedly entered the studio the night of the murder and “ultimately executed Mizell.”\u003c/p>\n\u003cp>As Jam Master Jay, Mizell was known as the backbone of Run-DMC, a group that was instrumental in bringing rap and hip hop into mainstream culture. Their third album, \u003cem>Raising Hell\u003c/em> (which featured hits like “It’s Tricky,” “My Adidas,” and “Walk This Way”), was the first rap album to go platinum, eventually reaching triple platinum status. Mizell also founded his own record label—JMJ Records—known for discovering such artists as Onyx and 50 Cent.\u003c/p>\n\u003cp>Mizell’s murder received on-and-off attention from authorities as well as \u003ca href=\"http://www.mtv.com/news/1576088/jam-master-jays-murder-a-timeline-and-the-key-players/\" target=\"_blank\" rel=\"noopener noreferrer\">the media\u003c/a>. The case was the center of a 2018 episode of the \u003ca href=\"https://www.youtube.com/watch?v=718bAMt_Qrk\" target=\"_blank\" rel=\"noopener noreferrer\">Netflix documentary series \u003cem>ReMastered\u003c/em>,\u003c/a> that looked at not just the loose threads in the murder case but the lack of urgency from law enforcement in solving the killing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>No industry remains untouched by the economic impact of the coronavirus pandemic, and independent filmmakers, already in a precarious financial state, are no exception. Film festivals have been canceled or rerouted into streaming events; releases have been delayed; the gatherings that allow filmmakers to share ideas, resources and enthusiasm for each others’ projects are all suspended for the foreseeable future. (Will we really be flying to Park City in January 2021?) \u003c/p>\n\u003cp>[aside postID='arts_13884767']And like many industries forced to fill gaps in government spending on health care and coronavirus-related relief funds, the filmmaking community has had to step up to ensure its members can weather this global health crisis and emerge with stories to tell (and the means to do so). \u003c/p>\n\u003cp>To that end, the Center for Asian American Media, with support from the Sundance Institute, is awarding as many as \u003ca href=\"https://caamedia.org/blog/2020/08/13/caam-to-offer-emergency-grants-for-filmmakers-from-the-sundance-institute/?utm_source=MadMimi&utm_medium=email&utm_content=Apply+for+Emergency+Grants+for+Filmmakers+Made+Possible+by+Sundance+Institute&utm_campaign=20200814_m159625399_Apply+for+Emergency+Grants+For+Filmmakers+Made+Possible+By+Sundance+Institute&utm_term=here\" rel=\"noopener noreferrer\" target=\"_blank\">15 emergency grants of up to $1,000 each\u003c/a> to Asian American filmmakers with demonstrated financial needs as a result of the COVID-19 pandemic.\u003c/p>\n\u003cp>The funds come from the $1 million \u003ca href=\"https://www.sundance.org/covid19\" rel=\"noopener noreferrer\" target=\"_blank\">Sundance Institute Respond and Reimagine Plan\u003c/a>, which awarded grants directly to artists, as well as through \u003ca href=\"https://www.artistrelief.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Artist Relief\u003c/a>, and selected organizations to redistribute a remaining $405,000 to artists from historically marginalized communities. Sundance picked 39 grantees across the world, including local media orgs CAAM and Frameline.\u003c/p>\n\u003cp>Applicants for the CAAM emergency grants, among other requirements, must identify as Asian American; cannot be current students; must be directors, producers, cinematographers or editors experiencing dire financial emergencies due to the pandemic; and must have completed at least “one nonfiction film or interactive media project that was publicly exhibited in a curated and/or noncommercial environment.” \u003c/p>\n\u003cp>Applications are due by Monday, Aug. 31. \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSd8SRRSdwVwmJa9_0l_CtalDp1w7bYQKSr2SCeeLjqaZjXTEg/viewform\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>No industry remains untouched by the economic impact of the coronavirus pandemic, and independent filmmakers, already in a precarious financial state, are no exception. Film festivals have been canceled or rerouted into streaming events; releases have been delayed; the gatherings that allow filmmakers to share ideas, resources and enthusiasm for each others’ projects are all suspended for the foreseeable future. (Will we really be flying to Park City in January 2021?) \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And like many industries forced to fill gaps in government spending on health care and coronavirus-related relief funds, the filmmaking community has had to step up to ensure its members can weather this global health crisis and emerge with stories to tell (and the means to do so). \u003c/p>\n\u003cp>To that end, the Center for Asian American Media, with support from the Sundance Institute, is awarding as many as \u003ca href=\"https://caamedia.org/blog/2020/08/13/caam-to-offer-emergency-grants-for-filmmakers-from-the-sundance-institute/?utm_source=MadMimi&utm_medium=email&utm_content=Apply+for+Emergency+Grants+for+Filmmakers+Made+Possible+by+Sundance+Institute&utm_campaign=20200814_m159625399_Apply+for+Emergency+Grants+For+Filmmakers+Made+Possible+By+Sundance+Institute&utm_term=here\" rel=\"noopener noreferrer\" target=\"_blank\">15 emergency grants of up to $1,000 each\u003c/a> to Asian American filmmakers with demonstrated financial needs as a result of the COVID-19 pandemic.\u003c/p>\n\u003cp>The funds come from the $1 million \u003ca href=\"https://www.sundance.org/covid19\" rel=\"noopener noreferrer\" target=\"_blank\">Sundance Institute Respond and Reimagine Plan\u003c/a>, which awarded grants directly to artists, as well as through \u003ca href=\"https://www.artistrelief.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Artist Relief\u003c/a>, and selected organizations to redistribute a remaining $405,000 to artists from historically marginalized communities. Sundance picked 39 grantees across the world, including local media orgs CAAM and Frameline.\u003c/p>\n\u003cp>Applicants for the CAAM emergency grants, among other requirements, must identify as Asian American; cannot be current students; must be directors, producers, cinematographers or editors experiencing dire financial emergencies due to the pandemic; and must have completed at least “one nonfiction film or interactive media project that was publicly exhibited in a curated and/or noncommercial environment.” \u003c/p>\n\u003cp>Applications are due by Monday, Aug. 31. \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSd8SRRSdwVwmJa9_0l_CtalDp1w7bYQKSr2SCeeLjqaZjXTEg/viewform\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Mark Kozelek, of Sun Kil Moon and Red House Painters, Accused of Sexual Misconduct",
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"content": "\u003cp>\u003cem>\u003cstrong>Warning\u003c/strong>\u003c/em>\u003cem>: This article contains descriptions of alleged sexual assault and misconduct\u003c/em>.\u003c/p>\n\u003chr>\n\u003cp>Three women have come forward with allegations of sexual misconduct against musician Mark Kozelek, who frequently performs as Sun Kil Moon. The accusations were published \u003ca href=\"https://pitchfork.com/news/mark-kozelek-of-sun-kil-moon-accused-of-sexual-misconduct-by-three-women/\" target=\"_blank\" rel=\"noopener noreferrer\">by Pitchfork on Thursday in a report by Amy Zimmerman\u003c/a>.\u003c/p>\n\u003cp>When reached by NPR, a representative responded that Kozelek was not available to comment on the allegations. In its piece, Pitchfork reported that it reached out to Kozelek and his representatives over a dozen times over a period of months seeking comment, and that none of its messages were returned.[aside postid='arts_13883674']\u003c/p>\n\u003cp>A mental health specialist who lives in Los Angeles named Sarah Catherine Golden told Pitchfork that she met Kozelek in 2017 while traveling. After talking with her at one of Kozelek’s shows, she told Pitchfork, he invited her back to his hotel. Once at the hotel, she recounted to the website, Kozelek got undressed and asked her to get into bed with him. According to Golden, when she declined he began masturbating, groped her and attempted to kiss her. She also accused Kozelek of forcibly putting her hand on his penis.\u003c/p>\n\u003cp>Another woman, who used the pseudonym Andrea in Pitchfork’s reporting, says she met Kozelek in 2014, when she was 19. She described a relationship with Kozelek that lasted several months and began with Kozelek exposing herself and intercourse that, she told a friend in a Facebook message the next day, “wasn’t really consensual.” The woman described some of her later encounters with Kozelek as consensual, but told Pitchfork that there were others where “the lines [were] really blurred.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pitchfork also reported a third allegation, from a woman musician who asked not to be named. She alleges that Kozelek “invited her and another female musician to his hotel room after a festival in 2014 and acted inappropriately with her as well.” No other details were provided.[aside postid='arts_13883723']\u003c/p>\n\u003cp>Kozelek is best known as the singer and guitarist of the pioneering slowcore band Red House Painters, with whom he released six studio albums, and for the music he has released more recently under the moniker Sun Kil Moon. He has also drawn attention for antagonizing other artists (as he did with a largely one-sided feud with The War On Drugs in 2014), mocking his fans (as he did at Hopscotch Festival in 2014, calling the crowd \u003ca href=\"https://pitchfork.com/news/56588-mark-kozelek-tells-fucking-hillbilly-audience-to-shut-the-fuck-up/\" target=\"_blank\" rel=\"noopener noreferrer\">“f****** hillbillies”\u003c/a>) and for harassing female journalists, including Pitchfork’s Allison Hussey and \u003cem>The Guardian\u003c/em> critic Laura Snapes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Three months after Golden’s alleged assault, according to Pitchfork, she emailed Kozelek and said, in part, “Do you know that you were really inappropriate? As in, you broke me…You put my hand on your d***. I froze. I was so stuck there.” He reportedly did not email her back.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Mark+Kozelek%2C+Of+Sun+Kil+Moon+And+Red+House+Painters%2C+Accused+Of+Sexual+Misconduct&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Warning\u003c/strong>\u003c/em>\u003cem>: This article contains descriptions of alleged sexual assault and misconduct\u003c/em>.\u003c/p>\n\u003chr>\n\u003cp>Three women have come forward with allegations of sexual misconduct against musician Mark Kozelek, who frequently performs as Sun Kil Moon. The accusations were published \u003ca href=\"https://pitchfork.com/news/mark-kozelek-of-sun-kil-moon-accused-of-sexual-misconduct-by-three-women/\" target=\"_blank\" rel=\"noopener noreferrer\">by Pitchfork on Thursday in a report by Amy Zimmerman\u003c/a>.\u003c/p>\n\u003cp>When reached by NPR, a representative responded that Kozelek was not available to comment on the allegations. In its piece, Pitchfork reported that it reached out to Kozelek and his representatives over a dozen times over a period of months seeking comment, and that none of its messages were returned.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A mental health specialist who lives in Los Angeles named Sarah Catherine Golden told Pitchfork that she met Kozelek in 2017 while traveling. After talking with her at one of Kozelek’s shows, she told Pitchfork, he invited her back to his hotel. Once at the hotel, she recounted to the website, Kozelek got undressed and asked her to get into bed with him. According to Golden, when she declined he began masturbating, groped her and attempted to kiss her. She also accused Kozelek of forcibly putting her hand on his penis.\u003c/p>\n\u003cp>Another woman, who used the pseudonym Andrea in Pitchfork’s reporting, says she met Kozelek in 2014, when she was 19. She described a relationship with Kozelek that lasted several months and began with Kozelek exposing herself and intercourse that, she told a friend in a Facebook message the next day, “wasn’t really consensual.” The woman described some of her later encounters with Kozelek as consensual, but told Pitchfork that there were others where “the lines [were] really blurred.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kozelek is best known as the singer and guitarist of the pioneering slowcore band Red House Painters, with whom he released six studio albums, and for the music he has released more recently under the moniker Sun Kil Moon. He has also drawn attention for antagonizing other artists (as he did with a largely one-sided feud with The War On Drugs in 2014), mocking his fans (as he did at Hopscotch Festival in 2014, calling the crowd \u003ca href=\"https://pitchfork.com/news/56588-mark-kozelek-tells-fucking-hillbilly-audience-to-shut-the-fuck-up/\" target=\"_blank\" rel=\"noopener noreferrer\">“f****** hillbillies”\u003c/a>) and for harassing female journalists, including Pitchfork’s Allison Hussey and \u003cem>The Guardian\u003c/em> critic Laura Snapes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Three months after Golden’s alleged assault, according to Pitchfork, she emailed Kozelek and said, in part, “Do you know that you were really inappropriate? As in, you broke me…You put my hand on your d***. I froze. I was so stuck there.” He reportedly did not email her back.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Mark+Kozelek%2C+Of+Sun+Kil+Moon+And+Red+House+Painters%2C+Accused+Of+Sexual+Misconduct&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Some Good News: Ruth Asawa Stamps are Here",
"headTitle": "Some Good News: Ruth Asawa Stamps are Here | KQED",
"content": "\u003cp>Ruth Asawa has been commemorated in a run of official postage stamps, available today, Aug. 13. \u003c/p>\n\u003cp>The stamps honor the work of the late, beloved San Francisco-based Asawa, a Japanese American artist whose fountains adorn the city and whose detailed wire sculptures have become an instantly recognizable emblem of her long, varied career.\u003c/p>\n\u003cp>The 20 stamps in the set showcase Asawa’s wire sculptures, with a 1954 \u003cem>Life\u003c/em> magazine photograph of Asawa in the margin of the set. The stamps, good for use indefinitely as “Forever” stamps, cost 55¢ each or $11 for a sheet of 20. They can be purchased in person at any post office branch, or \u003ca href=\"https://store.usps.com/store/product/buy-stamps/ruth-asawa-S_476304\" rel=\"noopener noreferrer\" target=\"_blank\">online directly from the USPS\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13884760\" class=\"wp-caption aligncenter\" style=\"max-width: 522px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/RuthAsawa.Stampsheet.jpg\" alt=\"Stamps featuring the wire sculpture of Ruth Asawa.\" width=\"522\" height=\"470\" class=\"size-full wp-image-13884760\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/RuthAsawa.Stampsheet.jpg 522w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/RuthAsawa.Stampsheet-160x144.jpg 160w\" sizes=\"(max-width: 522px) 100vw, 522px\">\u003cfigcaption class=\"wp-caption-text\">Stamps featuring the wire sculpture of Ruth Asawa. \u003ccite>(USPS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Ruth Asawa stamps will be commemorated in a \u003ca href=\"https://stamps.org/news/c/news/cat/us-new-issues/post/star-treks-george-takei-featured-in-asawa-stamp-dedication\" rel=\"noopener noreferrer\" target=\"_blank\">virtual dedication ceremony\u003c/a> on Aug. 13 at 10:30am Pacific Time on the USPS’ \u003ca href=\"https://twitter.com/USPS\" rel=\"noopener noreferrer\" target=\"_blank\">Twitter\u003c/a> and \u003ca href=\"https://www.facebook.com/USPS/\" rel=\"noopener noreferrer\" target=\"_blank\">Facebook\u003c/a> pages. George Takei, of \u003cem>Star Trek\u003c/em> fame, is scheduled to speak.\u003c/p>\n\u003cp>Asawa’s wire sculptures will be familiar to visitors of the de Young Museum in San Francisco. Fifteen are on permanent display in the museum’s tower building. \u003c/p>\n\u003cp>Asawa was born in 1926. During WWII, she and members of her family were sent to Santa Anita racetrack, and then to Arkansas, as part of the U.S. internment of Japanese Americans. She later attended Black Mountain College in North Carolina. Though versed in a variety of disciplines, her work with wire sculpture attracted nationwide attention starting in the 1950s.\u003c/p>\n\u003cp>In 1966, Asawa created the mermaid fountain in San Francisco’s Ghirardelli Square. Fountains at the Hyatt in Union Square, the Embarcadero, and other locations around the Bay Area followed, often created in collaboration with schoolchildren. Asawa also led a drive to establish the San Francisco School for the Arts, now named in her honor.\u003c/p>\n\u003cp>Asawa died in 2013. A biography of her life and work, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13878921/everything-she-touched-emotionally-textured-biography-of-ruth-asawa\" rel=\"noopener noreferrer\" target=\"_blank\">Everything She Touched: The Life of Ruth Asawa\u003c/a>\u003c/em>, was released earlier this year by Chronicle Books. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ruth Asawa has been commemorated in a run of official postage stamps, available today, Aug. 13. \u003c/p>\n\u003cp>The stamps honor the work of the late, beloved San Francisco-based Asawa, a Japanese American artist whose fountains adorn the city and whose detailed wire sculptures have become an instantly recognizable emblem of her long, varied career.\u003c/p>\n\u003cp>The 20 stamps in the set showcase Asawa’s wire sculptures, with a 1954 \u003cem>Life\u003c/em> magazine photograph of Asawa in the margin of the set. The stamps, good for use indefinitely as “Forever” stamps, cost 55¢ each or $11 for a sheet of 20. They can be purchased in person at any post office branch, or \u003ca href=\"https://store.usps.com/store/product/buy-stamps/ruth-asawa-S_476304\" rel=\"noopener noreferrer\" target=\"_blank\">online directly from the USPS\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13884760\" class=\"wp-caption aligncenter\" style=\"max-width: 522px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/RuthAsawa.Stampsheet.jpg\" alt=\"Stamps featuring the wire sculpture of Ruth Asawa.\" width=\"522\" height=\"470\" class=\"size-full wp-image-13884760\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/RuthAsawa.Stampsheet.jpg 522w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/RuthAsawa.Stampsheet-160x144.jpg 160w\" sizes=\"(max-width: 522px) 100vw, 522px\">\u003cfigcaption class=\"wp-caption-text\">Stamps featuring the wire sculpture of Ruth Asawa. \u003ccite>(USPS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Ruth Asawa stamps will be commemorated in a \u003ca href=\"https://stamps.org/news/c/news/cat/us-new-issues/post/star-treks-george-takei-featured-in-asawa-stamp-dedication\" rel=\"noopener noreferrer\" target=\"_blank\">virtual dedication ceremony\u003c/a> on Aug. 13 at 10:30am Pacific Time on the USPS’ \u003ca href=\"https://twitter.com/USPS\" rel=\"noopener noreferrer\" target=\"_blank\">Twitter\u003c/a> and \u003ca href=\"https://www.facebook.com/USPS/\" rel=\"noopener noreferrer\" target=\"_blank\">Facebook\u003c/a> pages. George Takei, of \u003cem>Star Trek\u003c/em> fame, is scheduled to speak.\u003c/p>\n\u003cp>Asawa’s wire sculptures will be familiar to visitors of the de Young Museum in San Francisco. Fifteen are on permanent display in the museum’s tower building. \u003c/p>\n\u003cp>Asawa was born in 1926. During WWII, she and members of her family were sent to Santa Anita racetrack, and then to Arkansas, as part of the U.S. internment of Japanese Americans. She later attended Black Mountain College in North Carolina. Though versed in a variety of disciplines, her work with wire sculpture attracted nationwide attention starting in the 1950s.\u003c/p>\n\u003cp>In 1966, Asawa created the mermaid fountain in San Francisco’s Ghirardelli Square. Fountains at the Hyatt in Union Square, the Embarcadero, and other locations around the Bay Area followed, often created in collaboration with schoolchildren. Asawa also led a drive to establish the San Francisco School for the Arts, now named in her honor.\u003c/p>\n\u003cp>Asawa died in 2013. A biography of her life and work, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13878921/everything-she-touched-emotionally-textured-biography-of-ruth-asawa\" rel=\"noopener noreferrer\" target=\"_blank\">Everything She Touched: The Life of Ruth Asawa\u003c/a>\u003c/em>, was released earlier this year by Chronicle Books. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Club Replacing Slim's is Named YOLO and Won't Have Live Music—Only DJs",
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"content": "\u003cp>Slim’s, the San Francisco nightclub that presented an eclectic array of live rock, blues, jazz, folk, R&B and rap artists for over 30 years, has been sold to new owners promising to book “mostly EDM, Top 40 DJs” and “no live band[s] like what Slim’s had.”\u003c/p>\n\u003cp>The new club in the former Slim’s location at 333 11th Street will be called YOLO, according to a permit application to the City of San Francisco. The application also promises a dress code, ropes or barricades for lines at the front entrance, and security staff in suits and ties. The new owners, Michael Hu and Peter Lin, have been co-owners for the past eight years of \u003ca href=\"https://www.purenightclub408.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Pure Nightclub\u003c/a> in downtown Sunnyvale, a lounge concept club with VIP sections and bottle service. It looks like \u003ca href=\"https://www.purenightclub408.com/\" rel=\"noopener noreferrer\" target=\"_blank\">this\u003c/a>.\u003c/p>\n\u003cp>In other words, it’s not at all like Slim’s, whose \u003ca href=\"https://www.kqed.org/arts/13877225/slims-a-storied-sf-concert-hall-permanently-closes-after-30-years\" target=\"_blank\" rel=\"noopener noreferrer\">closure in March\u003c/a> marked the beginning of the pandemic and the end of a Bay Area institution. In its three-decade run, Slim’s hosted a constant stream of live bands, including intimate shows by Radiohead, Prince, Coldplay, Bruno Mars and thousands of others inside its brick walls.\u003c/p>\n\u003cp>That type of booking, which cemented Slim’s as an “iconic space, and historic space,” as entertainment commissioner Steven Lee put it in \u003ca href=\"https://sanfrancisco.granicus.com/MediaPlayer.php?view_id=99&clip_id=36319\" target=\"_blank\" rel=\"noopener noreferrer\">an Aug. 4 permit approval meeting\u003c/a>, does not extend to the club’s new format. YOLO’s booking will tag-team with Pure Nightclub, Wu announced in the permit meeting, with the same DJs playing alternating weekend nights at both clubs.\u003c/p>\n\u003cp>While Top 40 and EDM DJs \u003ca href=\"https://www.purenightclub408.com/hall-of-fame/\" target=\"_blank\" rel=\"noopener noreferrer\">are a staple\u003c/a> at Pure, the club has also held afterparties “hosted” by well-known rappers and R&B stars (past afterparties have included DaBaby, YG, Blueface and Nipsey Hussle)—not so much a full concert but an appearance, during which a small handful of songs might be performed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Central to YOLO’s permit application is the questionable assertion that “the music output from a DJ performance will be much less than a live band,” presumably referring to the greater control a club has over the volume of a DJ, versus a band’s amplifiers and drums.\u003c/p>\n\u003cp>However, as commissioner Laura Thomas pointed out in the meeting, the commission has for years received no sound complaints about Slim’s due to the installation of extensive soundproofing in the building, which YOLO aims to keep in place. The primary issue causing “a long series of complaints,” which other commissioners echoed, has been people congregating around and leaving the street’s clubs and bars loudly at late hours.\u003c/p>\n\u003cp>Wu said he had not yet spoken with any residential neighbors, and was strongly advised by the commission to do so. (Wu also added that, due to the pandemic, “I don’t see us opening anytime soon.”) YOLO is asking to retain the Extended Hours Premises permit granted to Slim’s, which would allow the club to stay open until 4am—an option the owners say they’d like to have, but would not exercise often, claiming that most events would end by 2am.\u003c/p>\n\u003cp>Not discussed during the meeting was the section in the permit application about YOLO’s dress code, which openly states that “our dress code is merely a tool to use to deny unwanted guests,” and bans sports apparel and baggy or oversized clothes. The application also provides that YOLO’s dress code could change based on “the type of events we’ll have.” \u003c/p>\n\u003cp>Just before Wu and Lin received conditional approval for their permits, a lone comment from the public was read: “Would you still have live music like Slim’s did? There aren’t enough rock venues in the city.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The question went unanswered, and the meeting moved to the next item on the agenda.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Slim’s, the San Francisco nightclub that presented an eclectic array of live rock, blues, jazz, folk, R&B and rap artists for over 30 years, has been sold to new owners promising to book “mostly EDM, Top 40 DJs” and “no live band[s] like what Slim’s had.”\u003c/p>\n\u003cp>The new club in the former Slim’s location at 333 11th Street will be called YOLO, according to a permit application to the City of San Francisco. The application also promises a dress code, ropes or barricades for lines at the front entrance, and security staff in suits and ties. The new owners, Michael Hu and Peter Lin, have been co-owners for the past eight years of \u003ca href=\"https://www.purenightclub408.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Pure Nightclub\u003c/a> in downtown Sunnyvale, a lounge concept club with VIP sections and bottle service. It looks like \u003ca href=\"https://www.purenightclub408.com/\" rel=\"noopener noreferrer\" target=\"_blank\">this\u003c/a>.\u003c/p>\n\u003cp>In other words, it’s not at all like Slim’s, whose \u003ca href=\"https://www.kqed.org/arts/13877225/slims-a-storied-sf-concert-hall-permanently-closes-after-30-years\" target=\"_blank\" rel=\"noopener noreferrer\">closure in March\u003c/a> marked the beginning of the pandemic and the end of a Bay Area institution. In its three-decade run, Slim’s hosted a constant stream of live bands, including intimate shows by Radiohead, Prince, Coldplay, Bruno Mars and thousands of others inside its brick walls.\u003c/p>\n\u003cp>That type of booking, which cemented Slim’s as an “iconic space, and historic space,” as entertainment commissioner Steven Lee put it in \u003ca href=\"https://sanfrancisco.granicus.com/MediaPlayer.php?view_id=99&clip_id=36319\" target=\"_blank\" rel=\"noopener noreferrer\">an Aug. 4 permit approval meeting\u003c/a>, does not extend to the club’s new format. YOLO’s booking will tag-team with Pure Nightclub, Wu announced in the permit meeting, with the same DJs playing alternating weekend nights at both clubs.\u003c/p>\n\u003cp>While Top 40 and EDM DJs \u003ca href=\"https://www.purenightclub408.com/hall-of-fame/\" target=\"_blank\" rel=\"noopener noreferrer\">are a staple\u003c/a> at Pure, the club has also held afterparties “hosted” by well-known rappers and R&B stars (past afterparties have included DaBaby, YG, Blueface and Nipsey Hussle)—not so much a full concert but an appearance, during which a small handful of songs might be performed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Central to YOLO’s permit application is the questionable assertion that “the music output from a DJ performance will be much less than a live band,” presumably referring to the greater control a club has over the volume of a DJ, versus a band’s amplifiers and drums.\u003c/p>\n\u003cp>However, as commissioner Laura Thomas pointed out in the meeting, the commission has for years received no sound complaints about Slim’s due to the installation of extensive soundproofing in the building, which YOLO aims to keep in place. The primary issue causing “a long series of complaints,” which other commissioners echoed, has been people congregating around and leaving the street’s clubs and bars loudly at late hours.\u003c/p>\n\u003cp>Wu said he had not yet spoken with any residential neighbors, and was strongly advised by the commission to do so. (Wu also added that, due to the pandemic, “I don’t see us opening anytime soon.”) YOLO is asking to retain the Extended Hours Premises permit granted to Slim’s, which would allow the club to stay open until 4am—an option the owners say they’d like to have, but would not exercise often, claiming that most events would end by 2am.\u003c/p>\n\u003cp>Not discussed during the meeting was the section in the permit application about YOLO’s dress code, which openly states that “our dress code is merely a tool to use to deny unwanted guests,” and bans sports apparel and baggy or oversized clothes. The application also provides that YOLO’s dress code could change based on “the type of events we’ll have.” \u003c/p>\n\u003cp>Just before Wu and Lin received conditional approval for their permits, a lone comment from the public was read: “Would you still have live music like Slim’s did? There aren’t enough rock venues in the city.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The question went unanswered, and the meeting moved to the next item on the agenda.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Three R. Kelly Associates Arrested For Trying to Bribe, Intimidate Alleged Victims",
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"content": "\u003cp>Three associates of fallen R&B star R. Kelly were arrested and charged Tuesday by New York federal authorities. The three are being accused of attempting to harass, threaten, intimidate and bribe several of Kelly’s alleged victims of sexual abuse.\u003c/p>\n\u003cp>The men are 31-year-old Richard Arline, Jr. a self-described friend of the singer; Donnell Russell, 45, a self-described “manager, advisor and friend” of Kelly; and Michael Williams, age 37, whom prosecutors say is a relative of one of Kelly’s former publicists.\u003c/p>\n\u003cp>The charges were filed in the Eastern District of New York [EDNY]. According to prosecutors, Arline tried to bribe one of Kelly’s alleged victims earlier this year with a proposed payment of $500,000, in order to keep her from cooperating with the government and testifying against Kelly at trial. Prosecutors also say that Arline claimed that he has been in touch with Kelly, while he is being held in custody, via a three-way phone call.\u003c/p>\n\u003cp>Russell, prosecutors say, tried to harass and intimidate another alleged Kelly victim and her mother between November 2018 and February of this year, after the woman filed a civil lawsuit against the singer. They accuse Russell of threatening to release sexually explicit photos of the woman, and to reveal elements of her sexual history, if she did not withdraw the suit. [aside postid='pop_104682']\u003c/p>\n\u003cp>The prosecutors say that Russell, using an alias, also sent versions of those photos to producers and executives at Lifetime and A&E television on Dec. 4, 2018—the day that Lifetime was to hold an advance screening of part of its \u003cem>Surviving R. Kelly \u003c/em>docuseries. That screening and a panel discussion was canceled due to a gun threat that was called in shortly before the event was to take place.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Williams is charged with setting fire on June 11 to an SUV that was parked outside of a residence where one of Kelly’s alleged victims was staying in Florida; the SUV was leased by the woman’s father. According to prosecutors, investigators also found a fire accelerant around the residence. Additionally, prosecutors say, Williams searched the internet for information about the flammability of fertilizer and diesel fuel; materials about witness intimidation and tampering; and information about countries that do not have extradition treaties with the U.S.\u003c/p>\n\u003cp>Almost immediately after the charges against the men were announced on Wednesday, one of Kelly’s attorneys, Steve Greenberg, posted on \u003ca href=\"https://twitter.com/SGcrimlaw/status/1293582381610340355?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Twitter\u003c/a>: “Without question, Robert Kelly had nothing to do with any of these alleged acts by those charged. He hasn’t attempted to intimidate anyone, or encouraged anyone else to do so. No involvement whatsoever.” [aside postid='pop_108417']\u003c/p>\n\u003cp>The New York prosecutors had already alleged that Kelly and his associates—including “managers, bodyguards, drivers, personal assistants and runners for Kelly, as well as members of Kelly’s entourage”—were acting as an \u003ca href=\"https://www.npr.org/2020/03/13/815500741/new-york-federal-prosecutors-file-new-charges-against-r-kelly\" target=\"_blank\" rel=\"noopener noreferrer\">organized crime ring\u003c/a>.\u003c/p>\n\u003cp>They have also contended that Kelly obstructed justice by destroying evidence and bribing witnesses during his last criminal trial, which ended with a not guilty verdict in Chicago in 2008.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Kelly is currently facing two sets of federal criminal charges: one from EDNY and the other in Illinois. In total, these comprise 22 charges for allegedly abusing 11 girls and women over the course of more than two decades, from 1994 to 2018.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Three+R.+Kelly+Associates+Arrested+For+Trying+To+Bribe%2C+Intimidate+Alleged+Victims&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Three associates of fallen R&B star R. Kelly were arrested and charged Tuesday by New York federal authorities. The three are being accused of attempting to harass, threaten, intimidate and bribe several of Kelly’s alleged victims of sexual abuse.\u003c/p>\n\u003cp>The men are 31-year-old Richard Arline, Jr. a self-described friend of the singer; Donnell Russell, 45, a self-described “manager, advisor and friend” of Kelly; and Michael Williams, age 37, whom prosecutors say is a relative of one of Kelly’s former publicists.\u003c/p>\n\u003cp>The charges were filed in the Eastern District of New York [EDNY]. According to prosecutors, Arline tried to bribe one of Kelly’s alleged victims earlier this year with a proposed payment of $500,000, in order to keep her from cooperating with the government and testifying against Kelly at trial. Prosecutors also say that Arline claimed that he has been in touch with Kelly, while he is being held in custody, via a three-way phone call.\u003c/p>\n\u003cp>Russell, prosecutors say, tried to harass and intimidate another alleged Kelly victim and her mother between November 2018 and February of this year, after the woman filed a civil lawsuit against the singer. They accuse Russell of threatening to release sexually explicit photos of the woman, and to reveal elements of her sexual history, if she did not withdraw the suit. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The prosecutors say that Russell, using an alias, also sent versions of those photos to producers and executives at Lifetime and A&E television on Dec. 4, 2018—the day that Lifetime was to hold an advance screening of part of its \u003cem>Surviving R. Kelly \u003c/em>docuseries. That screening and a panel discussion was canceled due to a gun threat that was called in shortly before the event was to take place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Williams is charged with setting fire on June 11 to an SUV that was parked outside of a residence where one of Kelly’s alleged victims was staying in Florida; the SUV was leased by the woman’s father. According to prosecutors, investigators also found a fire accelerant around the residence. Additionally, prosecutors say, Williams searched the internet for information about the flammability of fertilizer and diesel fuel; materials about witness intimidation and tampering; and information about countries that do not have extradition treaties with the U.S.\u003c/p>\n\u003cp>Almost immediately after the charges against the men were announced on Wednesday, one of Kelly’s attorneys, Steve Greenberg, posted on \u003ca href=\"https://twitter.com/SGcrimlaw/status/1293582381610340355?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Twitter\u003c/a>: “Without question, Robert Kelly had nothing to do with any of these alleged acts by those charged. He hasn’t attempted to intimidate anyone, or encouraged anyone else to do so. No involvement whatsoever.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The New York prosecutors had already alleged that Kelly and his associates—including “managers, bodyguards, drivers, personal assistants and runners for Kelly, as well as members of Kelly’s entourage”—were acting as an \u003ca href=\"https://www.npr.org/2020/03/13/815500741/new-york-federal-prosecutors-file-new-charges-against-r-kelly\" target=\"_blank\" rel=\"noopener noreferrer\">organized crime ring\u003c/a>.\u003c/p>\n\u003cp>They have also contended that Kelly obstructed justice by destroying evidence and bribing witnesses during his last criminal trial, which ended with a not guilty verdict in Chicago in 2008.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Kelly is currently facing two sets of federal criminal charges: one from EDNY and the other in Illinois. In total, these comprise 22 charges for allegedly abusing 11 girls and women over the course of more than two decades, from 1994 to 2018.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Three+R.+Kelly+Associates+Arrested+For+Trying+To+Bribe%2C+Intimidate+Alleged+Victims&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Actors Advocate for Full Contractural Pay After Pandemic Forces Play to Close",
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"content": "\u003cp>When Santoya Fields thinks about the first time—and last time—she and her cast-mates performed \u003cem>School Girls; Or, the African Mean Girls Play\u003c/em> at Berkeley Repertory Theatre, on March 16, what sticks out is the profound lack of clarity surrounding the circumstances.\u003c/p>\n\u003cp>Called in on their normally scheduled day off to rehearse and then perform the full show, which was filmed by an unscheduled camera crew, the cast and crew were told in an all-hands meeting by Berkeley Rep’s managing director, Susie Medak, that the recording was being made to “honor” their work. Though their show would never open to a live audience—Berkeley’s shelter-in-place order took effect the next day—the recording of the performance would be made available to ticketholders for a two-week time period.\u003c/p>\n\u003cp>It was, managing director Susie Medak tells KQED, a way to honor obligations to their expectant audience as well.\u003c/p>\n\u003cp>The situation was not an isolated one; theaters nationwide this year suddenly went dark, and \u003ca href=\"https://www.kqed.org/arts/13879316/the-good-the-bad-and-the-glitchy-streaming-theater-during-shelter-in-place\">many of them\u003c/a> broadcast recorded versions of their closed shows. But similar to \u003ca href=\"https://www.nytimes.com/2002/05/22/theater/how-broadway-bounced-back-after-9-11-but-downtown-theater-lacked-the-right-ties.html\" target=\"_blank\" rel=\"noopener noreferrer\">New York City theaters after 9-11\u003c/a>, the story of \u003cem>School Girls; Or, the African Mean Girls Play\u003c/em> at Berkeley Rep provides a case study in the disputes that arise when a show is forced to close due to circumstances out of the theater’s control.\u003c/p>\n\u003cfigure id=\"attachment_13884431\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884431\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/SantoyaFields_headshot_credit_MalloreeHill-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/SantoyaFields_headshot_credit_MalloreeHill-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/SantoyaFields_headshot_credit_MalloreeHill-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/SantoyaFields_headshot_credit_MalloreeHill-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/SantoyaFields_headshot_credit_MalloreeHill.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Santoya Fields, actor in ‘School Girls; Or, the African Mean Girls Play’ at Berkeley Repertory Theatre. \u003ccite>(Mallore Hill)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Things Were Moving So Fast’\u003c/h2>\n\u003cp>During the meeting on March 16, Fields, the union deputy for the cast, asked for clarification on the actors’ compensation. Medak verbally promised everyone in the room two weeks’ pay. Fields recalls that when she then asked whether those two weeks constituted extra pay beyond the four weeks specified by their Actors’ Equity-negotiated contracts, her question was dismissed.\u003c/p>\n\u003cp>“We only have to pay you for three days,” she remembers Medak saying, invoking the Actors’ Equity “Act of God” clause. But as Fields and Idehenre contend, \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Force_majeure\" target=\"_blank\" rel=\"noopener noreferrer\">force majeure\u003c/a>\u003c/em> was rejected in other shows that closed around the country. Nonetheless, the cast was given just 45 minutes to prepare themselves for their first, and only, full performance, which would be filmed and then broadcast, in a hastily-negotiated arrangement between Berkeley Rep, A.C.T., and Actors’ Equity.\u003c/p>\n\u003cp>“We were still doing blocking,” Fields’ fellow cast-mate Omozé Idehenre recalls about that day. “We’re in tech, we’re under duress because we’re in the pandemic, so we have no time to process…or to figure things out.”\u003c/p>\n\u003cp>“In all of my years of running a theater, I’ve just never had to do anything quite like this,” Medak recalls about that day. “Things were moving so fast at that point.”\u003c/p>\n\u003cfigure id=\"attachment_13884429\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884429\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/OmozeIdehenre_credit_AndyRooney.jpg\" alt=\"\" width=\"600\" height=\"880\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/OmozeIdehenre_credit_AndyRooney.jpg 746w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/OmozeIdehenre_credit_AndyRooney-160x235.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Omozé Idehenre, actor in ‘School Girls; Or, the African Mean Girls Play’ at Berkeley Repertory Theatre. \u003ccite>(Andy Rooney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A New Contract, and a Breach of the Old One\u003c/h2>\n\u003cp>To add to Fields’ and Idehenre’s unease, they received an email two days later from Berkeley Rep that included a “rider” to their original contracts. This rider guaranteed payment through April 5. But the contract they had signed in February specified a four-week notice for termination, meaning they were eligible for four weeks’ worth of regular pay at termination. As they’d already been paid their contracted salary through March 22, being paid additionally through April 5 fell short of those four weeks.\u003c/p>\n\u003cp>Included with the new rider was a copy of an agreement between Berkeley Rep and Actors’ Equity, which specified that the theater would be allowed to record and broadcast a scheduled performance of \u003cem>School Girls\u003c/em>, as well as the already-closed \u003cem>Culture Clash (Still) in America\u003c/em>. The agreement itself seemed to have violated the previous contract in multiple ways—in the time of notice given to the actors before the recording, in the compensation due for the recording being made, and the fact that the show recorded was not a scheduled performance, but rather a previously unscheduled run-through of a show still in rehearsal.\u003c/p>\n\u003cp>According to union member Velina Brown—who pens \u003cem>The Business of Show Biz\u003c/em> column for \u003ca href=\"https://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Theatre Bay Area\u003c/a>—in order to film a show, for any purpose, a theater is contractually obligated to obtain the actors’ express permission. She also emphasizes that an actor must be notified 24 hours before a recording is made, instead of being told in a rushed meeting a couple of hours before the shoot.\u003c/p>\n\u003cp>Indeed, the so-titled streaming agreement with Actors’ Equity states that “best efforts” should be made to give “no less” than 24 hours. But, as Medak points out, “having a notice (issued the morning of March 16) from the governor that the building must be shut down” precluded Berkeley Rep’s ability to give that much notice. For them, filming had to happen Monday or never. And so they proceeded with the recording, and officially closed the show.\u003c/p>\n\u003cfigure id=\"attachment_13884432\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884432\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Berkeley_Rep_Medak_credit_Cheshire-IsaacsBerkeley-Repertory-Theatre-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Berkeley_Rep_Medak_credit_Cheshire-IsaacsBerkeley-Repertory-Theatre-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Berkeley_Rep_Medak_credit_Cheshire-IsaacsBerkeley-Repertory-Theatre-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Berkeley_Rep_Medak_credit_Cheshire-IsaacsBerkeley-Repertory-Theatre-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Berkeley_Rep_Medak_credit_Cheshire-IsaacsBerkeley-Repertory-Theatre.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Susie Medak, managing director for Berkeley Repertory Theatre. \u003ccite>(Cheshire Issacs/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘We Just Couldn’t Get Answers’\u003c/h2>\n\u003cp>But for Fields and Idehenre, questions lingered around what compensation they were owed, and they reached out to Actors’ Equity for answers. It’s since become clear to them that not only did Berkeley Rep fail to adhere to the terms of their original contracts, but that Actors’ Equity failed in their mandate to enforce them. Over the course of the past few months, Fields and Idehenre researched the particulars of those contracts and the events leading up to the recording being made, in multiple conversations with Berkeley Rep, Actors’ Equity, and experts such as Velina Brown. To date, they haven’t found the results satisfactory.\u003c/p>\n\u003cp>“We were really trying to understand how all this happened,” Fields relates. “We went in with all these questions and we just couldn’t get answers. The union [now] recognizes that things were not done properly, but they’re still not holding themselves accountable.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The whole purpose to being in the union is that there are agreements that have been collectively bargained, and the union is there to back up any member if those agreements are not being upheld or met,” Brown stresses. “When you as an actor are coming in, you are just signing on to this contract, and if there’s anything not right, you go to the union.”\u003c/p>\n\u003cp>By investigating the case on their own, Fields and Idehenre have opened themselves up to what Brown views as potential for backlash—the very thing union protection is supposed to prevent.\u003c/p>\n\u003cp>Beyond continuing to press the union for a more thorough examination of their experiences and contracts with Berkeley Rep, Fields and Idehenre want Actors’ Equity to provide a public statement of accountability and “very clear” guidance for moving forward in a pandemic-affected arena. “How will you regain the trust of your members and assure us that you are working for our interests?” Fields asks.\u003c/p>\n\u003cp>Through spokesperson Brandon Lorenz, Actors’ Equity commented that “we are in active conversations with the Equity-represented employees and Berkeley Rep to resolve outstanding issues from this production and ensure that everyone is appropriately compensated for their work.”\u003c/p>\n\u003cp>As of this writing, that resolution is still pending.\u003c/p>\n\u003cp>“I really think anyone who looks at this situation can just see how we as actors did not have power in that moment,” Fields points out. “I think that imbalance of power needs to be addressed… how people devalue actors. Even when they’re essential to what you need.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Santoya Fields thinks about the first time—and last time—she and her cast-mates performed \u003cem>School Girls; Or, the African Mean Girls Play\u003c/em> at Berkeley Repertory Theatre, on March 16, what sticks out is the profound lack of clarity surrounding the circumstances.\u003c/p>\n\u003cp>Called in on their normally scheduled day off to rehearse and then perform the full show, which was filmed by an unscheduled camera crew, the cast and crew were told in an all-hands meeting by Berkeley Rep’s managing director, Susie Medak, that the recording was being made to “honor” their work. Though their show would never open to a live audience—Berkeley’s shelter-in-place order took effect the next day—the recording of the performance would be made available to ticketholders for a two-week time period.\u003c/p>\n\u003cp>It was, managing director Susie Medak tells KQED, a way to honor obligations to their expectant audience as well.\u003c/p>\n\u003cp>The situation was not an isolated one; theaters nationwide this year suddenly went dark, and \u003ca href=\"https://www.kqed.org/arts/13879316/the-good-the-bad-and-the-glitchy-streaming-theater-during-shelter-in-place\">many of them\u003c/a> broadcast recorded versions of their closed shows. But similar to \u003ca href=\"https://www.nytimes.com/2002/05/22/theater/how-broadway-bounced-back-after-9-11-but-downtown-theater-lacked-the-right-ties.html\" target=\"_blank\" rel=\"noopener noreferrer\">New York City theaters after 9-11\u003c/a>, the story of \u003cem>School Girls; Or, the African Mean Girls Play\u003c/em> at Berkeley Rep provides a case study in the disputes that arise when a show is forced to close due to circumstances out of the theater’s control.\u003c/p>\n\u003cfigure id=\"attachment_13884431\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884431\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/SantoyaFields_headshot_credit_MalloreeHill-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/SantoyaFields_headshot_credit_MalloreeHill-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/SantoyaFields_headshot_credit_MalloreeHill-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/SantoyaFields_headshot_credit_MalloreeHill-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/SantoyaFields_headshot_credit_MalloreeHill.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Santoya Fields, actor in ‘School Girls; Or, the African Mean Girls Play’ at Berkeley Repertory Theatre. \u003ccite>(Mallore Hill)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Things Were Moving So Fast’\u003c/h2>\n\u003cp>During the meeting on March 16, Fields, the union deputy for the cast, asked for clarification on the actors’ compensation. Medak verbally promised everyone in the room two weeks’ pay. Fields recalls that when she then asked whether those two weeks constituted extra pay beyond the four weeks specified by their Actors’ Equity-negotiated contracts, her question was dismissed.\u003c/p>\n\u003cp>“We only have to pay you for three days,” she remembers Medak saying, invoking the Actors’ Equity “Act of God” clause. But as Fields and Idehenre contend, \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Force_majeure\" target=\"_blank\" rel=\"noopener noreferrer\">force majeure\u003c/a>\u003c/em> was rejected in other shows that closed around the country. Nonetheless, the cast was given just 45 minutes to prepare themselves for their first, and only, full performance, which would be filmed and then broadcast, in a hastily-negotiated arrangement between Berkeley Rep, A.C.T., and Actors’ Equity.\u003c/p>\n\u003cp>“We were still doing blocking,” Fields’ fellow cast-mate Omozé Idehenre recalls about that day. “We’re in tech, we’re under duress because we’re in the pandemic, so we have no time to process…or to figure things out.”\u003c/p>\n\u003cp>“In all of my years of running a theater, I’ve just never had to do anything quite like this,” Medak recalls about that day. “Things were moving so fast at that point.”\u003c/p>\n\u003cfigure id=\"attachment_13884429\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884429\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/OmozeIdehenre_credit_AndyRooney.jpg\" alt=\"\" width=\"600\" height=\"880\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/OmozeIdehenre_credit_AndyRooney.jpg 746w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/OmozeIdehenre_credit_AndyRooney-160x235.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Omozé Idehenre, actor in ‘School Girls; Or, the African Mean Girls Play’ at Berkeley Repertory Theatre. \u003ccite>(Andy Rooney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A New Contract, and a Breach of the Old One\u003c/h2>\n\u003cp>To add to Fields’ and Idehenre’s unease, they received an email two days later from Berkeley Rep that included a “rider” to their original contracts. This rider guaranteed payment through April 5. But the contract they had signed in February specified a four-week notice for termination, meaning they were eligible for four weeks’ worth of regular pay at termination. As they’d already been paid their contracted salary through March 22, being paid additionally through April 5 fell short of those four weeks.\u003c/p>\n\u003cp>Included with the new rider was a copy of an agreement between Berkeley Rep and Actors’ Equity, which specified that the theater would be allowed to record and broadcast a scheduled performance of \u003cem>School Girls\u003c/em>, as well as the already-closed \u003cem>Culture Clash (Still) in America\u003c/em>. The agreement itself seemed to have violated the previous contract in multiple ways—in the time of notice given to the actors before the recording, in the compensation due for the recording being made, and the fact that the show recorded was not a scheduled performance, but rather a previously unscheduled run-through of a show still in rehearsal.\u003c/p>\n\u003cp>According to union member Velina Brown—who pens \u003cem>The Business of Show Biz\u003c/em> column for \u003ca href=\"https://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Theatre Bay Area\u003c/a>—in order to film a show, for any purpose, a theater is contractually obligated to obtain the actors’ express permission. She also emphasizes that an actor must be notified 24 hours before a recording is made, instead of being told in a rushed meeting a couple of hours before the shoot.\u003c/p>\n\u003cp>Indeed, the so-titled streaming agreement with Actors’ Equity states that “best efforts” should be made to give “no less” than 24 hours. But, as Medak points out, “having a notice (issued the morning of March 16) from the governor that the building must be shut down” precluded Berkeley Rep’s ability to give that much notice. For them, filming had to happen Monday or never. And so they proceeded with the recording, and officially closed the show.\u003c/p>\n\u003cfigure id=\"attachment_13884432\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884432\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Berkeley_Rep_Medak_credit_Cheshire-IsaacsBerkeley-Repertory-Theatre-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Berkeley_Rep_Medak_credit_Cheshire-IsaacsBerkeley-Repertory-Theatre-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Berkeley_Rep_Medak_credit_Cheshire-IsaacsBerkeley-Repertory-Theatre-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Berkeley_Rep_Medak_credit_Cheshire-IsaacsBerkeley-Repertory-Theatre-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Berkeley_Rep_Medak_credit_Cheshire-IsaacsBerkeley-Repertory-Theatre.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Susie Medak, managing director for Berkeley Repertory Theatre. \u003ccite>(Cheshire Issacs/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘We Just Couldn’t Get Answers’\u003c/h2>\n\u003cp>But for Fields and Idehenre, questions lingered around what compensation they were owed, and they reached out to Actors’ Equity for answers. It’s since become clear to them that not only did Berkeley Rep fail to adhere to the terms of their original contracts, but that Actors’ Equity failed in their mandate to enforce them. Over the course of the past few months, Fields and Idehenre researched the particulars of those contracts and the events leading up to the recording being made, in multiple conversations with Berkeley Rep, Actors’ Equity, and experts such as Velina Brown. To date, they haven’t found the results satisfactory.\u003c/p>\n\u003cp>“We were really trying to understand how all this happened,” Fields relates. “We went in with all these questions and we just couldn’t get answers. The union [now] recognizes that things were not done properly, but they’re still not holding themselves accountable.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The whole purpose to being in the union is that there are agreements that have been collectively bargained, and the union is there to back up any member if those agreements are not being upheld or met,” Brown stresses. “When you as an actor are coming in, you are just signing on to this contract, and if there’s anything not right, you go to the union.”\u003c/p>\n\u003cp>By investigating the case on their own, Fields and Idehenre have opened themselves up to what Brown views as potential for backlash—the very thing union protection is supposed to prevent.\u003c/p>\n\u003cp>Beyond continuing to press the union for a more thorough examination of their experiences and contracts with Berkeley Rep, Fields and Idehenre want Actors’ Equity to provide a public statement of accountability and “very clear” guidance for moving forward in a pandemic-affected arena. “How will you regain the trust of your members and assure us that you are working for our interests?” Fields asks.\u003c/p>\n\u003cp>Through spokesperson Brandon Lorenz, Actors’ Equity commented that “we are in active conversations with the Equity-represented employees and Berkeley Rep to resolve outstanding issues from this production and ensure that everyone is appropriately compensated for their work.”\u003c/p>\n\u003cp>As of this writing, that resolution is still pending.\u003c/p>\n\u003cp>“I really think anyone who looks at this situation can just see how we as actors did not have power in that moment,” Fields points out. “I think that imbalance of power needs to be addressed… how people devalue actors. Even when they’re essential to what you need.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Though it may not be obvious from the wigs and glitter, drag has always been a \u003ca href=\"https://www.kqed.org/arts/program/pride-as-protest\" target=\"_blank\" rel=\"noopener noreferrer\">political art form\u003c/a>. In the 1960s, drag queens and trans women rioted against abusive police officers at San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13835520/a-new-generation-gathers-strength-from-the-courageous-queens-of-the-comptons-cafeteria-riot\" target=\"_blank\" rel=\"noopener noreferrer\">Compton’s Cafeteria\u003c/a> and New York’s Stonewall Inn, ushering in the modern-day gay rights movement. In the 1980s, the Sisters of Perpetual Indulgence used street theater to raise awareness and money for AIDS/HIV treatment while the federal government ignored the epidemic. Today, San Francisco drag performer \u003ca href=\"https://www.kqed.org/arts/13835007/juanita-more-beloved-drag-mother-is-queering-san-francisco-politics\" target=\"_blank\" rel=\"noopener noreferrer\">Juanita MORE!\u003c/a> campaigns for candidates and publishes a voting guide every election season, and Honey Mahogany is closely involved in city politics, helping San Francisco found the \u003ca href=\"https://www.kqed.org/news/11717648/worlds-first-transgender-culture-district-looks-to-the-past-and-the-future\" target=\"_blank\" rel=\"noopener noreferrer\">world’s first Transgender Cultural District\u003c/a>.\u003c/p>\n\u003cp>All that is to say that it makes perfect sense for California Secretary of State Alex Padilla to partner with Drag Out the Vote to boost turnout for the Nov. 3 election. It’s a bipartisan organization that operates in all 50 states, and its drag ambassadors register people to vote and motivate the LGBTQ+ community to get politically active. (Brita Filter and Jiggly Caliente of \u003cem>RuPaul’s Drag Race\u003c/em> fame are among their ranks.) Under the new partnership with the state of California, the first of its kind in the nation, drag performers will be tasked with disseminating timely and accurate election information, working polling places and acting as election observers.\u003c/p>\n\u003cp>[aside link1=\"https://www.kqed.org/arts/13835007/juanita-more-beloved-drag-mother-is-queering-san-francisco-politics,Juanita MORE!, Beloved Drag Mother, is Queering San Francisco Politics\" link2=\"https://www.kqed.org/arts/13835002/a-kqed-arts-series-the-changing-face-of-drag,The Changing Face of Drag\"]\u003cbr>\n“Every eligible voter should have the ability to cast a ballot free of barriers, and the LGBTQ+ community is no different,” Padilla said in a statement.\u003c/p>\n\u003cp>One in five LGBTQ+ adults aren’t registered to vote. And with Gen Z—the queerest generation—coming of age, it’s a crucial time to boost voter turnout. Drag performers who want to get involved have until Sept. 30 to register. \u003ca href=\"https://www.dragoutthevote2020.org/dap\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://youtu.be/XQUFjEEK4d4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Though it may not be obvious from the wigs and glitter, drag has always been a \u003ca href=\"https://www.kqed.org/arts/program/pride-as-protest\" target=\"_blank\" rel=\"noopener noreferrer\">political art form\u003c/a>. In the 1960s, drag queens and trans women rioted against abusive police officers at San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13835520/a-new-generation-gathers-strength-from-the-courageous-queens-of-the-comptons-cafeteria-riot\" target=\"_blank\" rel=\"noopener noreferrer\">Compton’s Cafeteria\u003c/a> and New York’s Stonewall Inn, ushering in the modern-day gay rights movement. In the 1980s, the Sisters of Perpetual Indulgence used street theater to raise awareness and money for AIDS/HIV treatment while the federal government ignored the epidemic. Today, San Francisco drag performer \u003ca href=\"https://www.kqed.org/arts/13835007/juanita-more-beloved-drag-mother-is-queering-san-francisco-politics\" target=\"_blank\" rel=\"noopener noreferrer\">Juanita MORE!\u003c/a> campaigns for candidates and publishes a voting guide every election season, and Honey Mahogany is closely involved in city politics, helping San Francisco found the \u003ca href=\"https://www.kqed.org/news/11717648/worlds-first-transgender-culture-district-looks-to-the-past-and-the-future\" target=\"_blank\" rel=\"noopener noreferrer\">world’s first Transgender Cultural District\u003c/a>.\u003c/p>\n\u003cp>All that is to say that it makes perfect sense for California Secretary of State Alex Padilla to partner with Drag Out the Vote to boost turnout for the Nov. 3 election. It’s a bipartisan organization that operates in all 50 states, and its drag ambassadors register people to vote and motivate the LGBTQ+ community to get politically active. (Brita Filter and Jiggly Caliente of \u003cem>RuPaul’s Drag Race\u003c/em> fame are among their ranks.) Under the new partnership with the state of California, the first of its kind in the nation, drag performers will be tasked with disseminating timely and accurate election information, working polling places and acting as election observers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ci>Updated Aug. 4, 3:45pm\u003c/i>\u003c/p>\n\u003cp>On a recent Saturday, Temi Washington, the great-great-granddaughter of Bridget “Biddy” Mason, spoke about the importance of seeing Black lives represented in American history. The occasion was a virtual panel discussion for LaborFest, the first virtual event for the annual San Francisco celebration of labor movements and the history of workers. Washington was there to talk about the future of a New Deal-era mural featuring her ancestor, a nurse and midwife in 19th-century Los Angeles. \u003c/p>\n\u003cp>“The story behind it certainly needs to be told,” Washington said of Bernard Zakheim’s 10-panel fresco \u003cem>History of Medicine in California\u003c/em>. In early June, the University of California San Francisco announced the frescoes would need to either be moved or destroyed to make way for a new research and academic building planned at the school’s Parnassus Heights campus. The school offered to preserve the frescoes digitally.[aside postID=\"news_11767493\"]\u003c/p>\n\u003cp>But Washington, the Zakheim family, and community supporters emphasized digital files would be no replacement for viewing the frescoes in person. Many argue that removing the murals will erase the already little-known history of Biddy Mason in the process. Mason was brought to California (a free state) by her enslaver, who was eventually apprehended with the help of local authorities. In a 1856 ruling by a Los Angeles court, she and 13 other enslaved people, including her three children, were declared free. \u003c/p>\n\u003cp>She later worked with one of California’s earliest trained physicians, John S. Griffin. In Zakheim’s fresco, Mason and Griffin are shown as equals, caring for a patient with malaria.\u003c/p>\n\u003cp>Growing up, Washington said she did not see positive portrayals of Black lives in history. She believes the frescoes are a gift to the school. \u003cem>History of Medicine in California\u003c/em> has greeted UCSF hospital workers and visitors to Toland Hall auditorium for over 80 years. Last week, San Francisco Supervisor Aaron Peskin expressed his interest in the frescoes, introducing a resolution to the Board of Supervisors to declare the artwork a historic landmark. \u003c/p>\n\u003cfigure id=\"attachment_13884221\" class=\"wp-caption aligncenter\" style=\"max-width: 991px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/zakheim2.jpg\" alt=\"\" width=\"991\" height=\"277\" class=\"size-full wp-image-13884221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/zakheim2.jpg 991w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/zakheim2-800x224.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/zakheim2-160x45.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/zakheim2-768x215.jpg 768w\" sizes=\"(max-width: 991px) 100vw, 991px\">\u003cfigcaption class=\"wp-caption-text\">Surgeon Don Pedro Prat treats a patient’s leg and James Ohio Pattie vaccinates Californians in a detail of ‘History of Medicine in California.’\u003cbr> \u003ccite>(Courtesy UCSF Special Collections)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Zakheim’s frescoes, funded by the New Deal’s Federal Art Project, depict the history of medicine in California. The vibrant murals are curved along the walls of the auditorium. In addition to Mason, other medical practitioners treat patients with all varieties of diseases.\u003c/p>\n\u003cp>The GSA considers the frescoes to be the property of the federal government on loan to the university. But the building that houses them is now 103 years old and seismically unfit; the university says it needs to be replaced.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Nonetheless UCSF will continue to work in good faith with all parties to determine if a plan to save the murals is possible,” the school said in a statement.\u003c/p>\n\u003cp>Historic preservation firms hired by UCSF said it would cost about $8 million to remove the frescoes. But Nathan Zakheim, the artist’s son, who has professional experience removing and conserving his father’s work, guarantees he can do the job for just $1 million. “I don’t object to their $8 million quote because that’s the sort of thing greedy conservators like to charge,” he said in the same LaborFest panel, “but I can do it for less than a million.”\u003c/p>\n\u003cfigure id=\"attachment_13884224\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c.jpg\" alt=\"\" width=\"1024\" height=\"725\" class=\"size-full wp-image-13884224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c-800x566.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c-1020x722.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c-768x544.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Bernard Zakheim and his son Nathan Zakheim, circa 1967. \u003ccite>(Courtesy UCSF Special Collections)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“UCSF has decided not to use public funds to physically preserve the murals, especially at a time when the UC system faces financial challenges in the wake of COVID-19,” the university said in a statement to the \u003cem>San Francisco Chronicle\u003c/em>.\u003c/p>\n\u003cp>In a legal letter issued to the Zakheim family on June 4, UCSF stated the frescoes were set for demolition, giving the family 90 days to come up with a proposal to save them. Sources close to the project say that due to the ensuing outcry surrounding the frescoes’ potential destruction, as well as discussions about ownership of the murals, that timeline may no longer be in effect. \u003c/p>\n\u003cp>Adam Gottstein, Bernard Zakheim’s grandson, is trying to increase public awareness around his grandfather’s frescoes. In the LaborFest panel, Zakheim family members and community supporters discussed the relevance of the murals to the working class and the public and the political nature that protects them. \u003c/p>\n\u003cp>Robert Sherins, a community member who supports the preservation of the murals, has written six books about Bernard Zakheim’s personal life and paintings. Sherins, as well as other supporters, emphasized the importance of preserving history, especially now. \u003c/p>\n\u003cp>“These frescoes tell the story like none other and they cannot be removed,” Sherins said, “or you will forget history—as everybody else has.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>This article has been updated to accurately describe how Biddy Mason attained her freedom—as a Black woman, she was not able to petition the court on her own behalf at the time.\u003c/i>\u003c/p>\n\u003cp>\u003cem>This article also previously stated that Parnassus Hall is slated to be replaced with a complex of care units. It is slated to be replaced by a new research and academic building.\u003c/em>\u003c/p>\n\u003cp>\u003cem>This article also previously stated that the murals were funded by the U.S> General Service Administration. The murals were funded by the Federal Arts Project.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Updated Aug. 4, 3:45pm\u003c/i>\u003c/p>\n\u003cp>On a recent Saturday, Temi Washington, the great-great-granddaughter of Bridget “Biddy” Mason, spoke about the importance of seeing Black lives represented in American history. The occasion was a virtual panel discussion for LaborFest, the first virtual event for the annual San Francisco celebration of labor movements and the history of workers. Washington was there to talk about the future of a New Deal-era mural featuring her ancestor, a nurse and midwife in 19th-century Los Angeles. \u003c/p>\n\u003cp>“The story behind it certainly needs to be told,” Washington said of Bernard Zakheim’s 10-panel fresco \u003cem>History of Medicine in California\u003c/em>. In early June, the University of California San Francisco announced the frescoes would need to either be moved or destroyed to make way for a new research and academic building planned at the school’s Parnassus Heights campus. The school offered to preserve the frescoes digitally.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Washington, the Zakheim family, and community supporters emphasized digital files would be no replacement for viewing the frescoes in person. Many argue that removing the murals will erase the already little-known history of Biddy Mason in the process. Mason was brought to California (a free state) by her enslaver, who was eventually apprehended with the help of local authorities. In a 1856 ruling by a Los Angeles court, she and 13 other enslaved people, including her three children, were declared free. \u003c/p>\n\u003cp>She later worked with one of California’s earliest trained physicians, John S. Griffin. In Zakheim’s fresco, Mason and Griffin are shown as equals, caring for a patient with malaria.\u003c/p>\n\u003cp>Growing up, Washington said she did not see positive portrayals of Black lives in history. She believes the frescoes are a gift to the school. \u003cem>History of Medicine in California\u003c/em> has greeted UCSF hospital workers and visitors to Toland Hall auditorium for over 80 years. Last week, San Francisco Supervisor Aaron Peskin expressed his interest in the frescoes, introducing a resolution to the Board of Supervisors to declare the artwork a historic landmark. \u003c/p>\n\u003cfigure id=\"attachment_13884221\" class=\"wp-caption aligncenter\" style=\"max-width: 991px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/zakheim2.jpg\" alt=\"\" width=\"991\" height=\"277\" class=\"size-full wp-image-13884221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/zakheim2.jpg 991w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/zakheim2-800x224.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/zakheim2-160x45.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/zakheim2-768x215.jpg 768w\" sizes=\"(max-width: 991px) 100vw, 991px\">\u003cfigcaption class=\"wp-caption-text\">Surgeon Don Pedro Prat treats a patient’s leg and James Ohio Pattie vaccinates Californians in a detail of ‘History of Medicine in California.’\u003cbr> \u003ccite>(Courtesy UCSF Special Collections)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Zakheim’s frescoes, funded by the New Deal’s Federal Art Project, depict the history of medicine in California. The vibrant murals are curved along the walls of the auditorium. In addition to Mason, other medical practitioners treat patients with all varieties of diseases.\u003c/p>\n\u003cp>The GSA considers the frescoes to be the property of the federal government on loan to the university. But the building that houses them is now 103 years old and seismically unfit; the university says it needs to be replaced.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Nonetheless UCSF will continue to work in good faith with all parties to determine if a plan to save the murals is possible,” the school said in a statement.\u003c/p>\n\u003cp>Historic preservation firms hired by UCSF said it would cost about $8 million to remove the frescoes. But Nathan Zakheim, the artist’s son, who has professional experience removing and conserving his father’s work, guarantees he can do the job for just $1 million. “I don’t object to their $8 million quote because that’s the sort of thing greedy conservators like to charge,” he said in the same LaborFest panel, “but I can do it for less than a million.”\u003c/p>\n\u003cfigure id=\"attachment_13884224\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c.jpg\" alt=\"\" width=\"1024\" height=\"725\" class=\"size-full wp-image-13884224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c-800x566.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c-1020x722.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/92599580-a603-4416-ae71-d6d2108b4d5c-768x544.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Bernard Zakheim and his son Nathan Zakheim, circa 1967. \u003ccite>(Courtesy UCSF Special Collections)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“UCSF has decided not to use public funds to physically preserve the murals, especially at a time when the UC system faces financial challenges in the wake of COVID-19,” the university said in a statement to the \u003cem>San Francisco Chronicle\u003c/em>.\u003c/p>\n\u003cp>In a legal letter issued to the Zakheim family on June 4, UCSF stated the frescoes were set for demolition, giving the family 90 days to come up with a proposal to save them. Sources close to the project say that due to the ensuing outcry surrounding the frescoes’ potential destruction, as well as discussions about ownership of the murals, that timeline may no longer be in effect. \u003c/p>\n\u003cp>Adam Gottstein, Bernard Zakheim’s grandson, is trying to increase public awareness around his grandfather’s frescoes. In the LaborFest panel, Zakheim family members and community supporters discussed the relevance of the murals to the working class and the public and the political nature that protects them. \u003c/p>\n\u003cp>Robert Sherins, a community member who supports the preservation of the murals, has written six books about Bernard Zakheim’s personal life and paintings. Sherins, as well as other supporters, emphasized the importance of preserving history, especially now. \u003c/p>\n\u003cp>“These frescoes tell the story like none other and they cannot be removed,” Sherins said, “or you will forget history—as everybody else has.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003ci>This article has been updated to accurately describe how Biddy Mason attained her freedom—as a Black woman, she was not able to petition the court on her own behalf at the time.\u003c/i>\u003c/p>\n\u003cp>\u003cem>This article also previously stated that Parnassus Hall is slated to be replaced with a complex of care units. It is slated to be replaced by a new research and academic building.\u003c/em>\u003c/p>\n\u003cp>\u003cem>This article also previously stated that the murals were funded by the U.S> General Service Administration. The murals were funded by the Federal Arts Project.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A handful of California College of the Arts students, energized by the movement for Black lives, have started a fundraiser for their classmates, hoping to offset the expense of a private art school education with unrestricted grants of $500–$1,000.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.gofundme.com/f/working-class-bipoc-at-cca-fundraiser\" rel=\"noopener noreferrer\" target=\"_blank\">Working Class & BIPOC Grant Campaign\u003c/a>, launched July 2, seeks to “catalyze the change necessary to make our school viable for all of its students.” The fundraiser’s end goal, beyond raising $35,000, is to push CCA to create a separate scholarship for Black and Indigenous students and students of color.\u003c/p>\n\u003cp>[aside postID='arts_13883757,arts_13877073']Pointing to the high cost of living in the Bay Area and CCA’s 2020–21 tuition of over $50,000, the organizers, a coalition of leaders from five different student groups, hope to address an “unacceptable disconnect between higher education and the BIPOC artist community in the Bay Area.” \u003c/p>\n\u003cp>CCA’s \u003ca href=\"https://www.cca.edu/admissions/facts/\" rel=\"noopener noreferrer\" target=\"_blank\">student body\u003c/a> is 14% Asian American, 13% Hispanic/Latinx and 4% African American. (In 2010, the nine-county Bay Area was 23% Asian, 24% Hispanic/Latinx and 7% African American.)\u003c/p>\n\u003cp>And while CCA distributes millions in institutional financial aid each year, only one named scholarship is specifically earmarked for African American students, with another four categorized as “diversity” scholarships. CCA says it is unable to use race or ethnicity as a deciding factor in bestowing scholarships because of Proposition 209, which most famously ended affirmative action practices at UC schools in 1996. \u003c/p>\n\u003cp>During a nationwide reckoning for racial justice, the student leaders behind the Working Class & BIPOC Grant Campaign have moved quickly and independently to circumnavigate such restrictions, opting instead for mutual aid. Their fundraiser is both functional and symbolic, modeling a program CCA might one day be able to implement (\u003ca href=\"https://www.sfchronicle.com/politics/article/California-bill-asking-voters-whether-to-repeal-15331604.php\" rel=\"noopener noreferrer\" target=\"_blank\">a repeal of Proposition 209\u003c/a> will appear on state ballots this November). \u003c/p>\n\u003ch2>A Student-Led Campaign\u003c/h2>\n\u003cp>Lindsay Guinan, a third-year animation student, is one of ten student organizers behind the fundraiser. “I’m so grateful to be living through the literal largest civil rights movement to date,” she says. Participating in recent Black Lives Matter protests prompted her to look critically at the communities in which she was already involved: “And CCA is a community that I think desperately needs help in terms of equity for Black students and Indigenous students and students of color.” \u003c/p>\n\u003cp>The fundraiser was originally planned to conclude in October, but Guinan says they may shorten the timeframe to release funds before the fall semester starts on Sept. 3. As of publication, the group, which includes members of the 24 Frames Animation Club, the Black Brilliance Club, the Students of Color Coalition, Student Council and Student Union of California College of the Arts, has raised over $12,000 from 132 donors—a feat achieved in under four weeks. \u003c/p>\n\u003cp>https://www.instagram.com/p/CCt2bnvAJgs/\u003c/p>\n\u003cp>By establishing itself as completely independent from the school, the campaign has both advantages and disadvantages. Funds can be dispersed immediately, without going through official channels, but the campaign has to gather information about who is eligible to receive those funds on their own. To that end, they’ve created a survey for CCA students to complete; Guinan says they received 200 responses in the first two days. \u003c/p>\n\u003cp>Alongside demographic questions about ethnicity and gender identity are queries like, “Have you felt unsafe at CCA due to direct or indirect racism, ableism, transphobia, homophobia, sexism, classism, national origin?” The survey also wants to know if students notified CCA of such experiences and if the school took action in response to any complaints.\u003c/p>\n\u003cp>CCA, like most institutions of higher education across the country, is currently examining its past and current practices regarding racial justice and equity. The \u003ca href=\"https://portal.cca.edu/essentials/office-president/presidents-diversity-steering-group/\" rel=\"noopener noreferrer\" target=\"_blank\">President’s Diversity Steering Group\u003c/a>, made up of faculty, staff and students, has organized an \u003ca href=\"https://portal.cca.edu/essentials/office-president/presidents-diversity-steering-group/cca-community-recommendations-racial-justice-equity-initiatives/\" rel=\"noopener noreferrer\" target=\"_blank\">extensive list of recommendations\u003c/a> submitted by members of the CCA community since the national uprisings following the police killing of George Floyd. Among the suggestions are calls to create a center for Black visual culture and curatorial practice, to establish a land acknowledgment on the school’s website, and to require white faculty members to attend anti-racism training. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch2>‘More Funding is Needed’\u003c/h2>\n\u003cp>CCA spokesperson Taryn Lott says the school expects the list of current and ongoing initiatives to grow, especially with regards to programming and curriculum, when members of the faculty return from the summer break. As for CCA’s response to the call for additional funding for working class and BIPOC students, Lott wrote in an email, “While CCA has made progress in raising diversity scholarships, college leadership recognizes that more funding is needed and continues to pursue increased support for our students.” Lott says CCA has raised $635,000 toward diversity scholarship awards since May.\u003c/p>\n\u003cp>The school currently distributes $25 million in institutional financial aid, 65% of which Lott says went to BIPOC and working class undergraduate and graduate students last year, which includes U.S. citizens, permanent residents and DACA recipients. Diversity scholarships comprise 10% of the school’s endowment at $3 million. \u003c/p>\n\u003cp>But Guinan says what she’s heard from CCA’s Black students in particular is that the diversity scholarship program doesn’t prioritize them and they often don’t see those funds. The scholarships, according to CCA’s website, are offered to “students from educationally disadvantaged families who have demonstrated academic and artistic achievement, students with demonstrated leadership in service to the community, and students whose work focuses on social or cultural issues.”\u003c/p>\n\u003cp>The Working Class & BIPOC Grant Campaign hopes to disburse $1,000 each to those who need help with rent and larger expenses, and $500 grants for assistance with artist supplies and other “hidden fees that really add up,” Guinan explains. CCA estimates the additional costs of attending the school while living in the Bay Area, factoring in fees, housing, transportation, food and supplies, can amount to around $25,000.\u003c/p>\n\u003cfigure id=\"attachment_13883981\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Glance_WhyUnification_body_2020_.2e16d0ba.fill-2160x1215-1.jpg\" alt=\"\" width=\"1200\" height=\"676\" class=\"size-full wp-image-13883981\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Glance_WhyUnification_body_2020_.2e16d0ba.fill-2160x1215-1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Glance_WhyUnification_body_2020_.2e16d0ba.fill-2160x1215-1-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Glance_WhyUnification_body_2020_.2e16d0ba.fill-2160x1215-1-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Glance_WhyUnification_body_2020_.2e16d0ba.fill-2160x1215-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Glance_WhyUnification_body_2020_.2e16d0ba.fill-2160x1215-1-768x433.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Student projects in the Nave at CCA’s San Francisco campus. \u003ccite>(Nicholas Lea Bruno/CCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last week, \u003ca href=\"https://portal.cca.edu/thriving/health-wellness/novel-coronavirus-covid19/fall-2020-semester-will-be-online/\" rel=\"noopener noreferrer\" target=\"_blank\">CCA announced\u003c/a> all of the upcoming fall semester’s courses will be taught completely remotely due to new guidance from the San Francisco Department of Public Health—not, as the school had hoped, in a combination of in-person and remote instruction. Though the school’s Oakland and San Francisco campuses will be completely closed to students until it is deemed safe to reopen—meaning no access to studios, wood shops, computer labs or the library—the school will continue to offer single-occupancy on-campus housing for students who need or want to live at CCA. \u003c/p>\n\u003cp>Unlike SFAI, which recently \u003ca href=\"https://www.kqed.org/arts/13883757/sfai-reinstates-degree-programs-faculty-students\" rel=\"noopener noreferrer\" target=\"_blank\">enticed students to re-enroll\u003c/a> with offers of a 50% tuition cut, CCA’s 2020–21 tuition is frozen at the previous school year’s rate. The only cuts were to a planned 4% increase. \u003c/p>\n\u003ch2>The Speedy Delivery of Grants\u003c/h2>\n\u003cp>Part of the impetus for keeping the Working Class & BIPOC Grant Campaign separate from the school, Guinan says, was a dissatisfaction with the speed at which CCA was able to disperse coronavirus-related relief funds to the student body. CCA received a total of nearly $1.4 million from the CARES Act fund, half of which will be disbursed in emergency financial aid grants of $500–$3,000 to eligible students between the 2019–20 and 2020–21 school years. Lott says their records indicate 745 students may be eligible to apply for these funds; so far 104 requests have been approved. (Dispersal \u003ca href=\"https://www.forbes.com/sites/wesleywhistle/2020/06/11/devos-finalizes-rule-blocking-undocumented-students-from-cares-act-grants/#2928675675a0\" rel=\"noopener noreferrer\" target=\"_blank\">was slowed\u003c/a> by a lack of guidance from the Department of Education.) \u003c/p>\n\u003cp>Additionally, CCA launched their own emergency fund to assist with students’ basic immediate needs in the face of the pandemic. Of the $30,686 raised, only $4,700 has been distributed to 40 students (decisions are made on a case-by-case basis and factor in the students’ financial aid and financial need) in the form of gift cards to grocery stores, general retailers and an art supplies store.\u003c/p>\n\u003cp>In the spirit of mutual aid, the student-led fundraiser will issue its grants without any such limitations, trusting recipients to know what they themselves need. Guinan hopes the success of this campaign will push the school to ultimately change the way it supports its working class and BIPOC students, from the bottom up. \u003c/p>\n\u003cp>“We all are putting our careers at CCA in some sort of jeopardy in some capacity,” she says. “And I just want to acknowledge that our team is working super hard and tackling this in multiple ways. The energy and the momentum is really strong and I just feel grateful to have this opportunity to hopefully effect some structural change at CCA.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A handful of California College of the Arts students, energized by the movement for Black lives, have started a fundraiser for their classmates, hoping to offset the expense of a private art school education with unrestricted grants of $500–$1,000.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.gofundme.com/f/working-class-bipoc-at-cca-fundraiser\" rel=\"noopener noreferrer\" target=\"_blank\">Working Class & BIPOC Grant Campaign\u003c/a>, launched July 2, seeks to “catalyze the change necessary to make our school viable for all of its students.” The fundraiser’s end goal, beyond raising $35,000, is to push CCA to create a separate scholarship for Black and Indigenous students and students of color.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Pointing to the high cost of living in the Bay Area and CCA’s 2020–21 tuition of over $50,000, the organizers, a coalition of leaders from five different student groups, hope to address an “unacceptable disconnect between higher education and the BIPOC artist community in the Bay Area.” \u003c/p>\n\u003cp>CCA’s \u003ca href=\"https://www.cca.edu/admissions/facts/\" rel=\"noopener noreferrer\" target=\"_blank\">student body\u003c/a> is 14% Asian American, 13% Hispanic/Latinx and 4% African American. (In 2010, the nine-county Bay Area was 23% Asian, 24% Hispanic/Latinx and 7% African American.)\u003c/p>\n\u003cp>And while CCA distributes millions in institutional financial aid each year, only one named scholarship is specifically earmarked for African American students, with another four categorized as “diversity” scholarships. CCA says it is unable to use race or ethnicity as a deciding factor in bestowing scholarships because of Proposition 209, which most famously ended affirmative action practices at UC schools in 1996. \u003c/p>\n\u003cp>During a nationwide reckoning for racial justice, the student leaders behind the Working Class & BIPOC Grant Campaign have moved quickly and independently to circumnavigate such restrictions, opting instead for mutual aid. Their fundraiser is both functional and symbolic, modeling a program CCA might one day be able to implement (\u003ca href=\"https://www.sfchronicle.com/politics/article/California-bill-asking-voters-whether-to-repeal-15331604.php\" rel=\"noopener noreferrer\" target=\"_blank\">a repeal of Proposition 209\u003c/a> will appear on state ballots this November). \u003c/p>\n\u003ch2>A Student-Led Campaign\u003c/h2>\n\u003cp>Lindsay Guinan, a third-year animation student, is one of ten student organizers behind the fundraiser. “I’m so grateful to be living through the literal largest civil rights movement to date,” she says. Participating in recent Black Lives Matter protests prompted her to look critically at the communities in which she was already involved: “And CCA is a community that I think desperately needs help in terms of equity for Black students and Indigenous students and students of color.” \u003c/p>\n\u003cp>The fundraiser was originally planned to conclude in October, but Guinan says they may shorten the timeframe to release funds before the fall semester starts on Sept. 3. As of publication, the group, which includes members of the 24 Frames Animation Club, the Black Brilliance Club, the Students of Color Coalition, Student Council and Student Union of California College of the Arts, has raised over $12,000 from 132 donors—a feat achieved in under four weeks. \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>By establishing itself as completely independent from the school, the campaign has both advantages and disadvantages. Funds can be dispersed immediately, without going through official channels, but the campaign has to gather information about who is eligible to receive those funds on their own. To that end, they’ve created a survey for CCA students to complete; Guinan says they received 200 responses in the first two days. \u003c/p>\n\u003cp>Alongside demographic questions about ethnicity and gender identity are queries like, “Have you felt unsafe at CCA due to direct or indirect racism, ableism, transphobia, homophobia, sexism, classism, national origin?” The survey also wants to know if students notified CCA of such experiences and if the school took action in response to any complaints.\u003c/p>\n\u003cp>CCA, like most institutions of higher education across the country, is currently examining its past and current practices regarding racial justice and equity. The \u003ca href=\"https://portal.cca.edu/essentials/office-president/presidents-diversity-steering-group/\" rel=\"noopener noreferrer\" target=\"_blank\">President’s Diversity Steering Group\u003c/a>, made up of faculty, staff and students, has organized an \u003ca href=\"https://portal.cca.edu/essentials/office-president/presidents-diversity-steering-group/cca-community-recommendations-racial-justice-equity-initiatives/\" rel=\"noopener noreferrer\" target=\"_blank\">extensive list of recommendations\u003c/a> submitted by members of the CCA community since the national uprisings following the police killing of George Floyd. Among the suggestions are calls to create a center for Black visual culture and curatorial practice, to establish a land acknowledgment on the school’s website, and to require white faculty members to attend anti-racism training. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>‘More Funding is Needed’\u003c/h2>\n\u003cp>CCA spokesperson Taryn Lott says the school expects the list of current and ongoing initiatives to grow, especially with regards to programming and curriculum, when members of the faculty return from the summer break. As for CCA’s response to the call for additional funding for working class and BIPOC students, Lott wrote in an email, “While CCA has made progress in raising diversity scholarships, college leadership recognizes that more funding is needed and continues to pursue increased support for our students.” Lott says CCA has raised $635,000 toward diversity scholarship awards since May.\u003c/p>\n\u003cp>The school currently distributes $25 million in institutional financial aid, 65% of which Lott says went to BIPOC and working class undergraduate and graduate students last year, which includes U.S. citizens, permanent residents and DACA recipients. Diversity scholarships comprise 10% of the school’s endowment at $3 million. \u003c/p>\n\u003cp>But Guinan says what she’s heard from CCA’s Black students in particular is that the diversity scholarship program doesn’t prioritize them and they often don’t see those funds. The scholarships, according to CCA’s website, are offered to “students from educationally disadvantaged families who have demonstrated academic and artistic achievement, students with demonstrated leadership in service to the community, and students whose work focuses on social or cultural issues.”\u003c/p>\n\u003cp>The Working Class & BIPOC Grant Campaign hopes to disburse $1,000 each to those who need help with rent and larger expenses, and $500 grants for assistance with artist supplies and other “hidden fees that really add up,” Guinan explains. CCA estimates the additional costs of attending the school while living in the Bay Area, factoring in fees, housing, transportation, food and supplies, can amount to around $25,000.\u003c/p>\n\u003cfigure id=\"attachment_13883981\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Glance_WhyUnification_body_2020_.2e16d0ba.fill-2160x1215-1.jpg\" alt=\"\" width=\"1200\" height=\"676\" class=\"size-full wp-image-13883981\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Glance_WhyUnification_body_2020_.2e16d0ba.fill-2160x1215-1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Glance_WhyUnification_body_2020_.2e16d0ba.fill-2160x1215-1-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Glance_WhyUnification_body_2020_.2e16d0ba.fill-2160x1215-1-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Glance_WhyUnification_body_2020_.2e16d0ba.fill-2160x1215-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Glance_WhyUnification_body_2020_.2e16d0ba.fill-2160x1215-1-768x433.jpg 768w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Student projects in the Nave at CCA’s San Francisco campus. \u003ccite>(Nicholas Lea Bruno/CCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last week, \u003ca href=\"https://portal.cca.edu/thriving/health-wellness/novel-coronavirus-covid19/fall-2020-semester-will-be-online/\" rel=\"noopener noreferrer\" target=\"_blank\">CCA announced\u003c/a> all of the upcoming fall semester’s courses will be taught completely remotely due to new guidance from the San Francisco Department of Public Health—not, as the school had hoped, in a combination of in-person and remote instruction. Though the school’s Oakland and San Francisco campuses will be completely closed to students until it is deemed safe to reopen—meaning no access to studios, wood shops, computer labs or the library—the school will continue to offer single-occupancy on-campus housing for students who need or want to live at CCA. \u003c/p>\n\u003cp>Unlike SFAI, which recently \u003ca href=\"https://www.kqed.org/arts/13883757/sfai-reinstates-degree-programs-faculty-students\" rel=\"noopener noreferrer\" target=\"_blank\">enticed students to re-enroll\u003c/a> with offers of a 50% tuition cut, CCA’s 2020–21 tuition is frozen at the previous school year’s rate. The only cuts were to a planned 4% increase. \u003c/p>\n\u003ch2>The Speedy Delivery of Grants\u003c/h2>\n\u003cp>Part of the impetus for keeping the Working Class & BIPOC Grant Campaign separate from the school, Guinan says, was a dissatisfaction with the speed at which CCA was able to disperse coronavirus-related relief funds to the student body. CCA received a total of nearly $1.4 million from the CARES Act fund, half of which will be disbursed in emergency financial aid grants of $500–$3,000 to eligible students between the 2019–20 and 2020–21 school years. Lott says their records indicate 745 students may be eligible to apply for these funds; so far 104 requests have been approved. (Dispersal \u003ca href=\"https://www.forbes.com/sites/wesleywhistle/2020/06/11/devos-finalizes-rule-blocking-undocumented-students-from-cares-act-grants/#2928675675a0\" rel=\"noopener noreferrer\" target=\"_blank\">was slowed\u003c/a> by a lack of guidance from the Department of Education.) \u003c/p>\n\u003cp>Additionally, CCA launched their own emergency fund to assist with students’ basic immediate needs in the face of the pandemic. Of the $30,686 raised, only $4,700 has been distributed to 40 students (decisions are made on a case-by-case basis and factor in the students’ financial aid and financial need) in the form of gift cards to grocery stores, general retailers and an art supplies store.\u003c/p>\n\u003cp>In the spirit of mutual aid, the student-led fundraiser will issue its grants without any such limitations, trusting recipients to know what they themselves need. Guinan hopes the success of this campaign will push the school to ultimately change the way it supports its working class and BIPOC students, from the bottom up. \u003c/p>\n\u003cp>“We all are putting our careers at CCA in some sort of jeopardy in some capacity,” she says. “And I just want to acknowledge that our team is working super hard and tackling this in multiple ways. The energy and the momentum is really strong and I just feel grateful to have this opportunity to hopefully effect some structural change at CCA.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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},
"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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