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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">C\u003c/span>alvin Williams and Leila McCabe Williams hoped to welcome their baby, Malik, into a village of supportive friends and family members, but safety measures during the COVID-19 pandemic required the family to change their plans.\u003c/p>\n\u003cp>In a Zoom call from their art-filled living room, 8-month-old Malik crawls on the carpet (a skill he’s recently mastered) as the Oakland couple tells me about sleepless nights and emergency diaper changes during important work calls, including one with former President Barack Obama. Handing a squirming Malik to Calvin, Leila rushes off to another Zoom meeting for her job at the nonprofit consulting firm where she and Calvin both work.\u003c/p>\n\u003cp>Navigating work and caring for a baby would be hard enough as it is. Add the global pandemic, a national uprising against racism and the recent death of Calvin’s father, and you have two people stretched to their limits. Calvin’s father lived in Alabama, and because of the threat of COVID-19, he was never able to travel to Oakland to meet Malik for the first time. For the same reason, Calvin couldn’t go back for the funeral.\u003c/p>\n\u003cp>“The last exchange I had with him was saying that that’s my main duty—to love and protect Malik,” he says. “The next morning I found out that he had a major heart attack and unfortunately didn’t recover.”\u003c/p>\n\u003cp>Grieving, sleep-deprived and physically isolated from friends and family who could ordinarily offer comforting hugs or help with the baby, Calvin and Leila, like many parents raising young children in 2020, have had to get creative with how they maintain and build their support structures.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I feel pretty strong in my spiritual and health practices, and I’m struggling,” says Calvin, adding that he recently asked friends from his \u003ca href=\"https://www.nationalcompadresnetwork.org/institutes/healing-generations/\" target=\"_blank\" rel=\"noopener noreferrer\">Healing Generations\u003c/a> support group to host a virtual healing circle for him. “I need to be held, I need a space because the reservoir is not being replenished.” [aside postid='arts_13881725']\u003c/p>\n\u003cp>The Williamses are intentional about the ways they seek emotional support from their loved ones, and each partner has a wide network of close confidants rather than expecting the other to fill every emotional need. In addition to regular check-ins with their therapist, Calvin is part of an intergenerational group for Black men, the \u003ca href=\"http://brotherhoodofelders.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Brotherhood of Elders\u003c/a>, who come together biweekly to offer each other support on a variety of topics, including fatherhood. He’s also in group chats with other first-time dads. Leila is part of a women’s support group that connects over the phone, and a member of several allyship groups for non-Black people looking to contribute to the Black Lives Matter movement.\u003c/p>\n\u003cp>“It’s nice to have that space to turn to and say I’m having a hard time so I don’t have to put that on [Calvin],” she says, adding that she’s doing her best to be there for him while he mourns his father.\u003c/p>\n\u003cp>And while the couple hasn’t gone out to protests in person out of caution around the pandemic, Calvin has been writing the Oakland City Council and the school board, and remotely working with the \u003ca href=\"http://blackorganizingproject.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Organizing Project\u003c/a>. The birth of Malik has been a major motivating factor for his activism—he doesn’t want to have to give his son the infamous “\u003ca href=\"https://www.webmd.com/mental-health/news/20200608/deaths-shape-how-black-parents-navigate-the-talk\" target=\"_blank\" rel=\"noopener noreferrer\">talk\u003c/a>” that many Black boys get from parents about interacting with police. That desire is giving him a sense of urgency.\u003c/p>\n\u003cp>“Nothing in that talk actually saves you, it’s just a hope that it shields you from triggering the white rage of an armed officer who can use their power with impunity to take your freedom and take your life, if not both,” he says.\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> therapist, friendly neighbors, extended family and a healthy co-parenting relationship with his ex have been key supports for Leon Sykes, father of a four-year-old also named Leon. Sykes, a media teacher at Fremont High School in Oakland, says that reframing how he gets politically active during the pandemic has been crucial to maintaining his mental health.\u003c/p>\n\u003cp>“I’m active online as far as spreading information, but I’m not as active as I used to be,” he says. “And that has to do with the fears of something happening and I’m not there for my son. A lot of it was fears during COVID. It’s these huge groups.”\u003c/p>\n\u003cfigure id=\"attachment_13883002\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883002\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/leon-sykes.jpeg\" alt=\"A father and son pose in front of Lake Merritt and the Oakland skyline.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/leon-sykes.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/leon-sykes-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/leon-sykes-768x1024.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Leon Sykes and his son, little Leon. \u003ccite>(Courtesy of Leon Sykes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Having open communication with little Leon’s mom about harm reduction and family agreements around partaking in various activities has helped him cope with the uncertainty of the pandemic and California’s reopening. An extrovert, Sykes has been missing teaching in the classroom and going to community events. But after strategizing about how the family would go about social distancing and hygiene protocols, he got a bike and began cycling around Lake Merritt and working out with some of his cousins at a six-foot-distance.\u003c/p>\n\u003cp>In addition to this physical outlet, conversations with friends who are also fathers have been crucial, as well as monthly video checkins with his therapist. “Me and my boys have conversations about everything from finances to mental health, and how therapy is the way to go,” Sykes says.\u003c/p>\n\u003cp>It was important for him to find a Black therapist, and he connected with her through \u003ca href=\"https://www.psychologytoday.com/us/therapists\" target=\"_blank\" rel=\"noopener noreferrer\">Psychology Today\u003c/a>, which offers a customizable search for specific cultural competencies.\u003c/p>\n\u003cp>“I think people have the idea that, I don’t have any issues, my mental health is great,” he adds. “Therapy is not a bad thing, and therapy is not just because things are going wrong in life. Therapy is just being able to talk things out—whatever it is.”\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">F\u003c/span>or Liz Bernstein, an artist and educator, the pandemic and Black Lives Matter movement have brought up other questions—how to raise a conscientious white child who can be part of the movement to end white supremacy. Her family dynamic is unique: her five-year-old son, Langston, is white, and his adoptive father, Bernstein’s ex, is Black.\u003c/p>\n\u003cp>“For [Langston] to even hear how the world views Black men it’s particularly like, what the the fuck. Like, ‘That’s my daddy,’” she says.\u003c/p>\n\u003cfigure id=\"attachment_13883003\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883003\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/IMG_9511-800x601.jpg\" alt=\"A mother and son pose in grey sweaters. \" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/IMG_9511-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/IMG_9511-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/IMG_9511-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/IMG_9511-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/IMG_9511-1536x1154.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/IMG_9511.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Liz Bernstein and her son, Langston. \u003ccite>(Courtesy of Liz Bernstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Langston’s primary caretaker, she’s been looking for age-appropriate ways to educate him on inequality, homelessness, racism and why the world is the way it is. “I feel it has just put a spotlight on white families to talk to their white children about what the world is really like,” she says, adding that she’s been using \u003ca href=\"https://www.cnn.com/2020/06/06/us/cnn-sesame-street-town-hall-racism-trnd/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sesame Street\u003c/em>’s recent episodes\u003c/a> about racism as an educational tool.\u003c/p>\n\u003cp>“We talked about how things are not fair—not everyone has been given same opportunities,” she says.[aside postid='arts_13881199']\u003c/p>\n\u003cp>Bernstein lives in a duplex with her best friend, her wife and their four- and six-year-old boys, who are like an extended family. And in addition to this support system, she has weekly calls with her therapist.\u003c/p>\n\u003cp>“It’s been some really dark days, truthfully,” she says, describing how her mood has fluctuated between rage at the federal government’s slow, disorganized pandemic response and “self-flagellation” at being too exhausted to come up with a constant schedule of hands-on crafting projects for Langston.\u003c/p>\n\u003cp>“It’s a lot of pressure because the village that was helping you before—namely their teachers—isn’t there anymore, and they did a lot,” she says, adding that she is nonetheless considering home-school as an option because of the rising number of COVID-19 cases in California.\u003c/p>\n\u003cp>The pandemic has been tough, but Bernstein is heartened by the help available—including online support groups and affordable online therapy. The key, she says, is to ask for help, even if it’s in ways we’re not used to.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Whatever issue you’re having, so is somebody else,” she says. “And no matter how specific and intense your particular psychological issue is, there are other people out there who are sharing it, and when you find those other people, you will feel better.”\u003c/p>\n\u003ch2>More Resources\u003c/h2>\n\u003cul>\n\u003cli>\u003ca href=\"https://safeandsound.org/for-parents/\" target=\"_blank\" rel=\"noopener noreferrer\">Safe & Sound’s Parental Stress TALK Line\u003c/a>: 415-441-5437\u003c/li>\n\u003cli>\u003ca href=\"https://www.kqed.org/arts/13881725/where-to-find-affordable-culturally-competent-therapy-in-bay-area-and-beyond\" target=\"_blank\" rel=\"noopener noreferrer\">Where to Find Affordable, Culturally Competent Therapy in Bay Area and Beyond\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://www.kqed.org/news/11809225/coronavirus-has-upended-our-world-its-ok-to-grieve\" target=\"_blank\" rel=\"noopener noreferrer\">Coronavirus Has Upended Our World. It’s OK to Grieve\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://www.kqed.org/arts/13881399/why-we-must-center-healing-in-the-movement-for-black-lives\" target=\"_blank\" rel=\"noopener noreferrer\">Why We Must Center Healing in the Movement for Black Lives\u003c/a>\u003c/li>\n\u003c/ul>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">C\u003c/span>alvin Williams and Leila McCabe Williams hoped to welcome their baby, Malik, into a village of supportive friends and family members, but safety measures during the COVID-19 pandemic required the family to change their plans.\u003c/p>\n\u003cp>In a Zoom call from their art-filled living room, 8-month-old Malik crawls on the carpet (a skill he’s recently mastered) as the Oakland couple tells me about sleepless nights and emergency diaper changes during important work calls, including one with former President Barack Obama. Handing a squirming Malik to Calvin, Leila rushes off to another Zoom meeting for her job at the nonprofit consulting firm where she and Calvin both work.\u003c/p>\n\u003cp>Navigating work and caring for a baby would be hard enough as it is. Add the global pandemic, a national uprising against racism and the recent death of Calvin’s father, and you have two people stretched to their limits. Calvin’s father lived in Alabama, and because of the threat of COVID-19, he was never able to travel to Oakland to meet Malik for the first time. For the same reason, Calvin couldn’t go back for the funeral.\u003c/p>\n\u003cp>“The last exchange I had with him was saying that that’s my main duty—to love and protect Malik,” he says. “The next morning I found out that he had a major heart attack and unfortunately didn’t recover.”\u003c/p>\n\u003cp>Grieving, sleep-deprived and physically isolated from friends and family who could ordinarily offer comforting hugs or help with the baby, Calvin and Leila, like many parents raising young children in 2020, have had to get creative with how they maintain and build their support structures.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I feel pretty strong in my spiritual and health practices, and I’m struggling,” says Calvin, adding that he recently asked friends from his \u003ca href=\"https://www.nationalcompadresnetwork.org/institutes/healing-generations/\" target=\"_blank\" rel=\"noopener noreferrer\">Healing Generations\u003c/a> support group to host a virtual healing circle for him. “I need to be held, I need a space because the reservoir is not being replenished.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Williamses are intentional about the ways they seek emotional support from their loved ones, and each partner has a wide network of close confidants rather than expecting the other to fill every emotional need. In addition to regular check-ins with their therapist, Calvin is part of an intergenerational group for Black men, the \u003ca href=\"http://brotherhoodofelders.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Brotherhood of Elders\u003c/a>, who come together biweekly to offer each other support on a variety of topics, including fatherhood. He’s also in group chats with other first-time dads. Leila is part of a women’s support group that connects over the phone, and a member of several allyship groups for non-Black people looking to contribute to the Black Lives Matter movement.\u003c/p>\n\u003cp>“It’s nice to have that space to turn to and say I’m having a hard time so I don’t have to put that on [Calvin],” she says, adding that she’s doing her best to be there for him while he mourns his father.\u003c/p>\n\u003cp>And while the couple hasn’t gone out to protests in person out of caution around the pandemic, Calvin has been writing the Oakland City Council and the school board, and remotely working with the \u003ca href=\"http://blackorganizingproject.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Organizing Project\u003c/a>. The birth of Malik has been a major motivating factor for his activism—he doesn’t want to have to give his son the infamous “\u003ca href=\"https://www.webmd.com/mental-health/news/20200608/deaths-shape-how-black-parents-navigate-the-talk\" target=\"_blank\" rel=\"noopener noreferrer\">talk\u003c/a>” that many Black boys get from parents about interacting with police. That desire is giving him a sense of urgency.\u003c/p>\n\u003cp>“Nothing in that talk actually saves you, it’s just a hope that it shields you from triggering the white rage of an armed officer who can use their power with impunity to take your freedom and take your life, if not both,” he says.\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> therapist, friendly neighbors, extended family and a healthy co-parenting relationship with his ex have been key supports for Leon Sykes, father of a four-year-old also named Leon. Sykes, a media teacher at Fremont High School in Oakland, says that reframing how he gets politically active during the pandemic has been crucial to maintaining his mental health.\u003c/p>\n\u003cp>“I’m active online as far as spreading information, but I’m not as active as I used to be,” he says. “And that has to do with the fears of something happening and I’m not there for my son. A lot of it was fears during COVID. It’s these huge groups.”\u003c/p>\n\u003cfigure id=\"attachment_13883002\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13883002\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/leon-sykes.jpeg\" alt=\"A father and son pose in front of Lake Merritt and the Oakland skyline.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/leon-sykes.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/leon-sykes-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/leon-sykes-768x1024.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Leon Sykes and his son, little Leon. \u003ccite>(Courtesy of Leon Sykes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Having open communication with little Leon’s mom about harm reduction and family agreements around partaking in various activities has helped him cope with the uncertainty of the pandemic and California’s reopening. An extrovert, Sykes has been missing teaching in the classroom and going to community events. But after strategizing about how the family would go about social distancing and hygiene protocols, he got a bike and began cycling around Lake Merritt and working out with some of his cousins at a six-foot-distance.\u003c/p>\n\u003cp>In addition to this physical outlet, conversations with friends who are also fathers have been crucial, as well as monthly video checkins with his therapist. “Me and my boys have conversations about everything from finances to mental health, and how therapy is the way to go,” Sykes says.\u003c/p>\n\u003cp>It was important for him to find a Black therapist, and he connected with her through \u003ca href=\"https://www.psychologytoday.com/us/therapists\" target=\"_blank\" rel=\"noopener noreferrer\">Psychology Today\u003c/a>, which offers a customizable search for specific cultural competencies.\u003c/p>\n\u003cp>“I think people have the idea that, I don’t have any issues, my mental health is great,” he adds. “Therapy is not a bad thing, and therapy is not just because things are going wrong in life. Therapy is just being able to talk things out—whatever it is.”\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">F\u003c/span>or Liz Bernstein, an artist and educator, the pandemic and Black Lives Matter movement have brought up other questions—how to raise a conscientious white child who can be part of the movement to end white supremacy. Her family dynamic is unique: her five-year-old son, Langston, is white, and his adoptive father, Bernstein’s ex, is Black.\u003c/p>\n\u003cp>“For [Langston] to even hear how the world views Black men it’s particularly like, what the the fuck. Like, ‘That’s my daddy,’” she says.\u003c/p>\n\u003cfigure id=\"attachment_13883003\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883003\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/IMG_9511-800x601.jpg\" alt=\"A mother and son pose in grey sweaters. \" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/IMG_9511-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/IMG_9511-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/IMG_9511-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/IMG_9511-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/IMG_9511-1536x1154.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/IMG_9511.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Liz Bernstein and her son, Langston. \u003ccite>(Courtesy of Liz Bernstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Langston’s primary caretaker, she’s been looking for age-appropriate ways to educate him on inequality, homelessness, racism and why the world is the way it is. “I feel it has just put a spotlight on white families to talk to their white children about what the world is really like,” she says, adding that she’s been using \u003ca href=\"https://www.cnn.com/2020/06/06/us/cnn-sesame-street-town-hall-racism-trnd/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sesame Street\u003c/em>’s recent episodes\u003c/a> about racism as an educational tool.\u003c/p>\n\u003cp>“We talked about how things are not fair—not everyone has been given same opportunities,” she says.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bernstein lives in a duplex with her best friend, her wife and their four- and six-year-old boys, who are like an extended family. And in addition to this support system, she has weekly calls with her therapist.\u003c/p>\n\u003cp>“It’s been some really dark days, truthfully,” she says, describing how her mood has fluctuated between rage at the federal government’s slow, disorganized pandemic response and “self-flagellation” at being too exhausted to come up with a constant schedule of hands-on crafting projects for Langston.\u003c/p>\n\u003cp>“It’s a lot of pressure because the village that was helping you before—namely their teachers—isn’t there anymore, and they did a lot,” she says, adding that she is nonetheless considering home-school as an option because of the rising number of COVID-19 cases in California.\u003c/p>\n\u003cp>The pandemic has been tough, but Bernstein is heartened by the help available—including online support groups and affordable online therapy. The key, she says, is to ask for help, even if it’s in ways we’re not used to.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Whatever issue you’re having, so is somebody else,” she says. “And no matter how specific and intense your particular psychological issue is, there are other people out there who are sharing it, and when you find those other people, you will feel better.”\u003c/p>\n\u003ch2>More Resources\u003c/h2>\n\u003cul>\n\u003cli>\u003ca href=\"https://safeandsound.org/for-parents/\" target=\"_blank\" rel=\"noopener noreferrer\">Safe & Sound’s Parental Stress TALK Line\u003c/a>: 415-441-5437\u003c/li>\n\u003cli>\u003ca href=\"https://www.kqed.org/arts/13881725/where-to-find-affordable-culturally-competent-therapy-in-bay-area-and-beyond\" target=\"_blank\" rel=\"noopener noreferrer\">Where to Find Affordable, Culturally Competent Therapy in Bay Area and Beyond\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://www.kqed.org/news/11809225/coronavirus-has-upended-our-world-its-ok-to-grieve\" target=\"_blank\" rel=\"noopener noreferrer\">Coronavirus Has Upended Our World. It’s OK to Grieve\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://www.kqed.org/arts/13881399/why-we-must-center-healing-in-the-movement-for-black-lives\" target=\"_blank\" rel=\"noopener noreferrer\">Why We Must Center Healing in the Movement for Black Lives\u003c/a>\u003c/li>\n\u003c/ul>\n\n\u003c/div>\u003c/p>",
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"title": "Film Composer Ennio Morricone, Genius of Film Scores, Dies at 91",
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"content": "\u003cp>Ennio Morricone, the Oscar-winning Italian composer who created the coyote-howl theme for the iconic Spaghetti Western \u003cem>The Good, the Bad and the Ugly\u003c/em> and often haunting soundtracks for such classic Hollywood gangster movies as \u003cem>The Untouchables\u003c/em> and the epic \u003cem>Once Upon A Time In America\u003c/em>, died Monday. He was 91.\u003c/p>\n\u003cp>Morricone’s longtime lawyer, Giorgio Assumma, said “the Maestro,” as he was known, died in a Rome hospital of complications following surgery after a recent fall in which he broke a leg bone.\u003c/p>\n\u003cp>Outside the hospital, Assumma read a farewell message from Morricone.\u003c/p>\n\u003cp>“I am Ennio Morricone, and I am dead,” began the message. In the greeting, the composer went on to explain that the only reason he was saying goodbye this way and had requested a private funeral was: “I don’t want to bother anyone.”\u003c/p>\n\u003cp>During a career that spanned decades and earned him an Oscar for lifetime achievement in 2007, Morricone collaborated with some of Hollywood’s and Italy’s top directors, including on \u003cem>The Untouchables\u003c/em> by Brian de Palma, \u003cem>The Hateful Eight\u003c/em> by Quentin Tarantino , \u003cem>The Battle of Algiers\u003c/em> by Gillo Pontecorvo and \u003cem>Nuovo Cinema Paradiso\u003c/em>, a nostalgic ode to the importance of movie houses in Italian small town life, by Giuseppe Tornatore.\u003c/p>\n\u003cp>The Tarantino film would win him the Oscar for best original score in 2016. In accepting that award, Morricone told the audience at the ceremony: “There is no great music without a great film that inspires it.”\u003c/p>\n\u003cp>In total, he produced more than 400 original scores for feature films.\u003c/p>\n\u003cfigure id=\"attachment_13882932\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Ennio.Clint_-800x606.jpg\" alt=\"Ennio Morricone, left, accepts an honorary Oscar for his contributions to the art of film music as director Clint Eastwood looks on during the 79th Academy Awards in Los Angeles, in 2007.\" width=\"800\" height=\"606\" class=\"size-medium wp-image-13882932\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Ennio.Clint_-800x606.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Ennio.Clint_-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Ennio.Clint_-768x581.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Ennio.Clint_.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ennio Morricone, left, accepts an honorary Oscar for his contributions to the art of film music as director Clint Eastwood looks on during the 79th Academy Awards in Los Angeles, in 2007. \u003ccite>(AP Photo/Mark J. Terrill)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His iconic so-called Spaghetti Western movies saw him work closely with the late Italian film director Sergio Leone, a former classmate.\u003c/p>\n\u003cp>Morricone practically reinvented music for Western genre movies through his partnership with Leone. Their partnership included the \u003cem>Dollars\u003c/em> trilogy starring Clint Eastwood as a quick-shooting, lonesome gunman: \u003cem>A Fistful of Dollars\u003c/em> in 1964, \u003cem>For a Few Dollars More\u003c/em> in 1965 and \u003cem>The Good, the Bad and the Ugly\u003c/em> a year later.\u003c/p>\n\u003cp>Morricone was celebrated for crafting just a few notes — like those played on a harmonica in Leone’s 1984 movie \u003cem>Once Upon A Time in America\u003c/em> — that would instantly become a film’s highly memorable motif.\u003c/p>\n\u003cp>That movie is a saga about Jewish gangsters in New York that explores themes of friendship, lost love and the passing of time, starring Robert De Niro and James Wood. It is considered by some to be Leone’s masterpiece, thanks in part to Morricone’s evocative score, including a lush section played on string instruments.\u003c/p>\n\u003cp>“Inspiration does not exist,” Morricone said in a 2004 interview with The Associated Press. “What exists is an idea, a minimal idea that the composer develops at the desk, and that small idea becomes something important.”\u003c/p>\n\u003cp>In a later interview, with Italian state TV, Morricone cited “study, discipline and curiosity” as the keys to his creative genius. “Writing music, like all creative arts, comes from a long path” along life’s experiences, he said.\u003c/p>\n\u003cp>“A great phenomenon of world music” was how Italian film director Dario Argento described Morricone, who scored five of his films.\u003c/p>\n\u003cfigure id=\"attachment_13882933\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Ennio.Conduct-800x560.jpg\" alt=\"Ennio Morricone conducts with the Budapest Symphonic Orchestra - Gyor in 2009.\" width=\"800\" height=\"560\" class=\"size-medium wp-image-13882933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Ennio.Conduct-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Ennio.Conduct-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Ennio.Conduct-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Ennio.Conduct.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ennio Morricone conducts with the Budapest Symphonic Orchestra – Gyor in 2009. \u003ccite>(AP Photo/Boris Grdanoski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In his late 80s, Morricone provided the score for \u003cem>The Hateful Eight\u003c/em>, Tarantino’s 2015 70-mm epic and the first time in decades that he had composed new music for a Western. It was also the first time Tarantino had used an original score.\u003c/p>\n\u003cp>In accepting Morricone’s Golden Globe for the music in his place, Tarantino called him his favorite composer.\u003c/p>\n\u003cp>“When I say ‘favorite composer,’ I don’t mean movie composer. … I’m talking about Mozart, I’m talking about Beethoven, I’m talking about Schubert,” Tarantino said.\u003c/p>\n\u003cp>Italy’s head of state, President Sergio Mattarella, in a condolence message to the composer’s family, wrote: “Both a refined and popular musician, he left a deep footprint on the musical history of the second half of the 1900s.”\u003c/p>\n\u003cp>Morricone’s sound tracks, Mattarella said, “contributed greatly to spreading and reinforcing the prestige of Italy in the world.”\u003c/p>\n\u003cp>Morricone’s style was sparse, made of memorable tunes and unusual instruments and arrangements, and often stirred deep emotions.\u003c/p>\n\u003cp>His music punctuated the long silences typical of the Spaghetti Westerns, with the characters locked in close-ups, staring at each other and waiting for their next moves. The coyote howl, harmonicas and eerie whistling of \u003cem>The Good, the Bad and the Ugly\u003c/em> became Morricone’s trademark and one of the most easily recognizable soundtracks in cinema.\u003c/p>\n\u003cp>Minutes before handing Morricone the Oscar for lifetime achievement in 2007, Eastwood recalled hearing for the first time the score of \u003cem>A Fistful of Dollars\u003c/em> and thinking: “What actor wouldn’t want to ride into town with that kind of music playing behind him?”\u003c/p>\n\u003cp>It was a night to remember for Morricone, who had been nominated for Oscars five times (\u003cem>The Hateful Eight\u003c/em> was his sixth) but until then had never won.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Born in Rome on Nov. 10, 1928, Morricone was the oldest of the five children. His father was a trumpet player.\u003c/p>\n\u003cp>After studying trumpet and composition at the Conservatory of the Accademia Nazionale di Santa Cecilia in the Italian capital, he started working as a trumpeter and then as an arranger for record companies.\u003c/p>\n\u003cp>“I started working on very easy kinds of music pieces for the radio, for television and then for the theater, and then little by little I started to compose the film scores,” he told the AP in 2016.\u003c/p>\n\u003cp>In 1961 he wrote his first score for a movie, a bittersweet comedy set in the final moments of Fascism called \u003cem>Il Federale\u003c/em> (known in English as \u003cem>The Fascist\u003c/em>). That decade also saw Morricone cooperate with Pontecorvo, first on \u003cem>The Battle of Algiers\u003c/em>, the black-and-white classic depicting the Algerian uprising against the French; and later on \u003cem>Queimada\u003c/em>, a tale of colonialism starring Marlon Brando.\u003c/p>\n\u003cp>Morricone received his first Oscar nomination for original score with \u003cem>Days Of Heaven\u003c/em>, a 1978 movie by U.S. director Terence Malick. Beside \u003cem>The Hateful Eight\u003c/em>, the others were for \u003cem>The Mission\u003c/em> (1986), \u003cem>The Untouchables\u003c/em> (1987), \u003cem>Bugsy\u003c/em> (1991) and \u003cem>Malena\u003c/em> (2000).\u003c/p>\n\u003cp>Shortly before his lifetime Oscar, Morricone joked that he would have been happy without the coveted statuette, saying “I would have remained in the company of illustrious non-winners.”\u003c/p>\n\u003cp>But he also made no secret that he thought \u003cem>The Mission\u003c/em>, with its memorably sweet theme of “Gabriel’s Oboe,” deserved the Academy Award. That year, he lost to Herbie Hancock’s \u003cem>Round Midnight\u003c/em>.\u003c/p>\n\u003cp>Morricone had recently composed music to be performed in Genoa’s Carlo Felice Theater later this summer in honor of the 43 victims of that city’s 2018 Morandi Bridge collapse, Genoa Mayor Marco Bucci said. The music will be performed on the eve of a ceremony inaugurating the bridge’s replacement, the mayor said.\u003c/p>\n\u003cp>Highly versatile, Morricone also orchestrated Italian pop tunes that include enduring classics, like one version of an eternal summer hit, “Sapore di Sale” (“Taste of Salt”), which was written by famed Italian troubadour Gino Paoli.\u003c/p>\n\u003cp>Another renowned maestro, Riccardo Muti, cited his “friendship and admiration″ for Morricone. Muti on Monday recalled that when he directed the composer’s piece “Voci dal Silenzio” (“Voices from the Silence”) the work elicited “true emotion” from the audience, both in Chicago, where Muti directs the symphony orchestra, as well as during a performance in Ravenna, Italy.\u003c/p>\n\u003cp>Muti called Morricone an “extraordinary” composer both for films and in classical music.\u003c/p>\n\u003cp>Asked by Italian state TV a few years ago if there was one director he would have liked to have worked with but didn’t, Morricone said Stanley Kubrick had asked him to work on \u003cem>A Clockwork Orange\u003c/em>. But that collaboration didn’t happen because of a commitment to Leone, Morricone recalled.\u003c/p>\n\u003cp>Morricone is survived by his wife Maria Travia, whom he cited when accepting his 2016 Oscar. Married in 1956, the couple had four children, Marco, Alessandra, Andrea and Giovanni.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003cem>Biographical material for this report was contributed by former AP correspondent Alessandra Rizzo.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ennio Morricone, the Oscar-winning Italian composer who created the coyote-howl theme for the iconic Spaghetti Western \u003cem>The Good, the Bad and the Ugly\u003c/em> and often haunting soundtracks for such classic Hollywood gangster movies as \u003cem>The Untouchables\u003c/em> and the epic \u003cem>Once Upon A Time In America\u003c/em>, died Monday. He was 91.\u003c/p>\n\u003cp>Morricone’s longtime lawyer, Giorgio Assumma, said “the Maestro,” as he was known, died in a Rome hospital of complications following surgery after a recent fall in which he broke a leg bone.\u003c/p>\n\u003cp>Outside the hospital, Assumma read a farewell message from Morricone.\u003c/p>\n\u003cp>“I am Ennio Morricone, and I am dead,” began the message. In the greeting, the composer went on to explain that the only reason he was saying goodbye this way and had requested a private funeral was: “I don’t want to bother anyone.”\u003c/p>\n\u003cp>During a career that spanned decades and earned him an Oscar for lifetime achievement in 2007, Morricone collaborated with some of Hollywood’s and Italy’s top directors, including on \u003cem>The Untouchables\u003c/em> by Brian de Palma, \u003cem>The Hateful Eight\u003c/em> by Quentin Tarantino , \u003cem>The Battle of Algiers\u003c/em> by Gillo Pontecorvo and \u003cem>Nuovo Cinema Paradiso\u003c/em>, a nostalgic ode to the importance of movie houses in Italian small town life, by Giuseppe Tornatore.\u003c/p>\n\u003cp>The Tarantino film would win him the Oscar for best original score in 2016. In accepting that award, Morricone told the audience at the ceremony: “There is no great music without a great film that inspires it.”\u003c/p>\n\u003cp>In total, he produced more than 400 original scores for feature films.\u003c/p>\n\u003cfigure id=\"attachment_13882932\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Ennio.Clint_-800x606.jpg\" alt=\"Ennio Morricone, left, accepts an honorary Oscar for his contributions to the art of film music as director Clint Eastwood looks on during the 79th Academy Awards in Los Angeles, in 2007.\" width=\"800\" height=\"606\" class=\"size-medium wp-image-13882932\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Ennio.Clint_-800x606.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Ennio.Clint_-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Ennio.Clint_-768x581.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Ennio.Clint_.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ennio Morricone, left, accepts an honorary Oscar for his contributions to the art of film music as director Clint Eastwood looks on during the 79th Academy Awards in Los Angeles, in 2007. \u003ccite>(AP Photo/Mark J. Terrill)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>His iconic so-called Spaghetti Western movies saw him work closely with the late Italian film director Sergio Leone, a former classmate.\u003c/p>\n\u003cp>Morricone practically reinvented music for Western genre movies through his partnership with Leone. Their partnership included the \u003cem>Dollars\u003c/em> trilogy starring Clint Eastwood as a quick-shooting, lonesome gunman: \u003cem>A Fistful of Dollars\u003c/em> in 1964, \u003cem>For a Few Dollars More\u003c/em> in 1965 and \u003cem>The Good, the Bad and the Ugly\u003c/em> a year later.\u003c/p>\n\u003cp>Morricone was celebrated for crafting just a few notes — like those played on a harmonica in Leone’s 1984 movie \u003cem>Once Upon A Time in America\u003c/em> — that would instantly become a film’s highly memorable motif.\u003c/p>\n\u003cp>That movie is a saga about Jewish gangsters in New York that explores themes of friendship, lost love and the passing of time, starring Robert De Niro and James Wood. It is considered by some to be Leone’s masterpiece, thanks in part to Morricone’s evocative score, including a lush section played on string instruments.\u003c/p>\n\u003cp>“Inspiration does not exist,” Morricone said in a 2004 interview with The Associated Press. “What exists is an idea, a minimal idea that the composer develops at the desk, and that small idea becomes something important.”\u003c/p>\n\u003cp>In a later interview, with Italian state TV, Morricone cited “study, discipline and curiosity” as the keys to his creative genius. “Writing music, like all creative arts, comes from a long path” along life’s experiences, he said.\u003c/p>\n\u003cp>“A great phenomenon of world music” was how Italian film director Dario Argento described Morricone, who scored five of his films.\u003c/p>\n\u003cfigure id=\"attachment_13882933\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Ennio.Conduct-800x560.jpg\" alt=\"Ennio Morricone conducts with the Budapest Symphonic Orchestra - Gyor in 2009.\" width=\"800\" height=\"560\" class=\"size-medium wp-image-13882933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Ennio.Conduct-800x560.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Ennio.Conduct-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Ennio.Conduct-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Ennio.Conduct.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ennio Morricone conducts with the Budapest Symphonic Orchestra – Gyor in 2009. \u003ccite>(AP Photo/Boris Grdanoski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In his late 80s, Morricone provided the score for \u003cem>The Hateful Eight\u003c/em>, Tarantino’s 2015 70-mm epic and the first time in decades that he had composed new music for a Western. It was also the first time Tarantino had used an original score.\u003c/p>\n\u003cp>In accepting Morricone’s Golden Globe for the music in his place, Tarantino called him his favorite composer.\u003c/p>\n\u003cp>“When I say ‘favorite composer,’ I don’t mean movie composer. … I’m talking about Mozart, I’m talking about Beethoven, I’m talking about Schubert,” Tarantino said.\u003c/p>\n\u003cp>Italy’s head of state, President Sergio Mattarella, in a condolence message to the composer’s family, wrote: “Both a refined and popular musician, he left a deep footprint on the musical history of the second half of the 1900s.”\u003c/p>\n\u003cp>Morricone’s sound tracks, Mattarella said, “contributed greatly to spreading and reinforcing the prestige of Italy in the world.”\u003c/p>\n\u003cp>Morricone’s style was sparse, made of memorable tunes and unusual instruments and arrangements, and often stirred deep emotions.\u003c/p>\n\u003cp>His music punctuated the long silences typical of the Spaghetti Westerns, with the characters locked in close-ups, staring at each other and waiting for their next moves. The coyote howl, harmonicas and eerie whistling of \u003cem>The Good, the Bad and the Ugly\u003c/em> became Morricone’s trademark and one of the most easily recognizable soundtracks in cinema.\u003c/p>\n\u003cp>Minutes before handing Morricone the Oscar for lifetime achievement in 2007, Eastwood recalled hearing for the first time the score of \u003cem>A Fistful of Dollars\u003c/em> and thinking: “What actor wouldn’t want to ride into town with that kind of music playing behind him?”\u003c/p>\n\u003cp>It was a night to remember for Morricone, who had been nominated for Oscars five times (\u003cem>The Hateful Eight\u003c/em> was his sixth) but until then had never won.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Born in Rome on Nov. 10, 1928, Morricone was the oldest of the five children. His father was a trumpet player.\u003c/p>\n\u003cp>After studying trumpet and composition at the Conservatory of the Accademia Nazionale di Santa Cecilia in the Italian capital, he started working as a trumpeter and then as an arranger for record companies.\u003c/p>\n\u003cp>“I started working on very easy kinds of music pieces for the radio, for television and then for the theater, and then little by little I started to compose the film scores,” he told the AP in 2016.\u003c/p>\n\u003cp>In 1961 he wrote his first score for a movie, a bittersweet comedy set in the final moments of Fascism called \u003cem>Il Federale\u003c/em> (known in English as \u003cem>The Fascist\u003c/em>). That decade also saw Morricone cooperate with Pontecorvo, first on \u003cem>The Battle of Algiers\u003c/em>, the black-and-white classic depicting the Algerian uprising against the French; and later on \u003cem>Queimada\u003c/em>, a tale of colonialism starring Marlon Brando.\u003c/p>\n\u003cp>Morricone received his first Oscar nomination for original score with \u003cem>Days Of Heaven\u003c/em>, a 1978 movie by U.S. director Terence Malick. Beside \u003cem>The Hateful Eight\u003c/em>, the others were for \u003cem>The Mission\u003c/em> (1986), \u003cem>The Untouchables\u003c/em> (1987), \u003cem>Bugsy\u003c/em> (1991) and \u003cem>Malena\u003c/em> (2000).\u003c/p>\n\u003cp>Shortly before his lifetime Oscar, Morricone joked that he would have been happy without the coveted statuette, saying “I would have remained in the company of illustrious non-winners.”\u003c/p>\n\u003cp>But he also made no secret that he thought \u003cem>The Mission\u003c/em>, with its memorably sweet theme of “Gabriel’s Oboe,” deserved the Academy Award. That year, he lost to Herbie Hancock’s \u003cem>Round Midnight\u003c/em>.\u003c/p>\n\u003cp>Morricone had recently composed music to be performed in Genoa’s Carlo Felice Theater later this summer in honor of the 43 victims of that city’s 2018 Morandi Bridge collapse, Genoa Mayor Marco Bucci said. The music will be performed on the eve of a ceremony inaugurating the bridge’s replacement, the mayor said.\u003c/p>\n\u003cp>Highly versatile, Morricone also orchestrated Italian pop tunes that include enduring classics, like one version of an eternal summer hit, “Sapore di Sale” (“Taste of Salt”), which was written by famed Italian troubadour Gino Paoli.\u003c/p>\n\u003cp>Another renowned maestro, Riccardo Muti, cited his “friendship and admiration″ for Morricone. Muti on Monday recalled that when he directed the composer’s piece “Voci dal Silenzio” (“Voices from the Silence”) the work elicited “true emotion” from the audience, both in Chicago, where Muti directs the symphony orchestra, as well as during a performance in Ravenna, Italy.\u003c/p>\n\u003cp>Muti called Morricone an “extraordinary” composer both for films and in classical music.\u003c/p>\n\u003cp>Asked by Italian state TV a few years ago if there was one director he would have liked to have worked with but didn’t, Morricone said Stanley Kubrick had asked him to work on \u003cem>A Clockwork Orange\u003c/em>. But that collaboration didn’t happen because of a commitment to Leone, Morricone recalled.\u003c/p>\n\u003cp>Morricone is survived by his wife Maria Travia, whom he cited when accepting his 2016 Oscar. Married in 1956, the couple had four children, Marco, Alessandra, Andrea and Giovanni.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003cem>Biographical material for this report was contributed by former AP correspondent Alessandra Rizzo.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The San Francisco Museum of Modern Art announced Monday that Nan Keeton, the museum’s deputy director of external relations since 2013, will step down from her position as of July 2. Keeton’s departure follows weeks of discussions both public and internal about the museum’s commitment to diversity and equity following the death of George Floyd and nationwide uprisings for racial justice.\u003c/p>\n\u003cp>[aside postID='arts_13881257']On May 30, the museum posted \u003ca href=\"https://www.instagram.com/p/CA0PIUpl_xs/\" rel=\"noopener noreferrer\" target=\"_blank\">an image\u003c/a> on social media of artist Glenn Ligon’s work (they weren’t the only \u003ca href=\"https://www.instagram.com/p/CAyYq8PFBpi/\" rel=\"noopener noreferrer\" target=\"_blank\">institution\u003c/a> to do so), including a quote from Ligon but no statement from the museum itself. Taylor Brandon, a former SFMOMA communications associate, commented on the Instagram post, \u003ca href=\"https://www.kqed.org/arts/13881257\" rel=\"noopener noreferrer\" target=\"_blank\">later telling KQED\u003c/a>, “You can’t use the work of Black artists to make a statement you should make. You can’t stand behind the work of Black people to do the work you need to do inside.”\u003c/p>\n\u003cp>When the museum deleted Brandon’s comment and disabled comments on the post, \u003ca href=\"https://www.instagram.com/p/CA3LjlUBGqP/\" rel=\"noopener noreferrer\" target=\"_blank\">screenshots\u003c/a> shared by SFMOMA’s labor union, OPEIU Local 29, spread through the Bay Area arts community, inciting outcry on social media. Brandon connected with the Nure Collective, a Bay Area group of Black artists who had been commissioned by the museum to create content for SFMOMA’s “#MuseumFromHome” initiative, to issue a seven-point \u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Nure-Collective-Letter-to-SFMOMA-final.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">list of demands\u003c/a> on June 2. Among them was a demand for “SFMOMA [to] seriously consider replacing upper-level Marketing + Communications staff who have proven their racial bias.”\u003c/p>\n\u003cp>That same day, Keeton explained in an SFMOMA staff meeting that the museum removed Brandon’s comment because it deemed the remarks “potential threats” that “target individuals.” In a conversation with KQED, Brandon described Keeton’s statement as a bad-faith misreading of her comments.\u003c/p>\n\u003cp>When asked if Keeton was stepping down in response to these events and the ongoing pressure on the museum, SFMOMA’s spokesperson did not respond. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In recent weeks, the number of groups calling for change at SFMOMA has grown. Brandon and the Nure Collective have joined forces with CTRL+SHFT Collective, Heavy Breathing, the Prison Arts Project and Work More! to form \u003ca href=\"https://www.noneutralalliance.com/\" rel=\"noopener noreferrer\" target=\"_blank\">No Neutral Alliance\u003c/a>—groups all initially included in SFMOMA’s #MuseumFromHome program. (All have since requested their work be removed from SFMOMA’s website.) \u003c/p>\n\u003cp>A multiracial group of former SFMOMA workers calling themselves \u003ca href=\"https://www.instagram.com/xsfm0ma/\" rel=\"noopener noreferrer\" target=\"_blank\">XSFMOMA\u003c/a> issued their own \u003ca href=\"https://drive.google.com/file/d/1ICDUYGGYVDUKkYxEPHIrc3GEZ8Gw8LLE/view\" rel=\"noopener noreferrer\" target=\"_blank\">open letter\u003c/a> on June 23, calling on the museum to fulfill the demands made by Taylor and No Neutral Alliance.\u003c/p>\n\u003cp>“We’ve heard the news of Nan Keeton’s resignation,” No Neutral Alliance wrote in a statement to KQED. “The No Neutral Alliance maintains our list of demands from the letter released June 12, none of which have been fulfilled upon the resignation of Keeton.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>SFMOMA Director Neal Benezra has yet to meet with members of No Neutral Alliance, which is now sharing annotated screenshots of their email correspondence on \u003ca href=\"https://www.instagram.com/noneutralalliance/\" rel=\"noopener noreferrer\" target=\"_blank\">Instagram\u003c/a>. SFMOMA’s own Instagram account has been inactive since \u003ca href=\"https://www.instagram.com/p/CBBIbYtlERX/\" rel=\"noopener noreferrer\" target=\"_blank\">June 4\u003c/a>, when the museum posted an apology from Benezra claiming full responsibility for the deletion of Brandon’s comment.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco Museum of Modern Art announced Monday that Nan Keeton, the museum’s deputy director of external relations since 2013, will step down from her position as of July 2. Keeton’s departure follows weeks of discussions both public and internal about the museum’s commitment to diversity and equity following the death of George Floyd and nationwide uprisings for racial justice.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On May 30, the museum posted \u003ca href=\"https://www.instagram.com/p/CA0PIUpl_xs/\" rel=\"noopener noreferrer\" target=\"_blank\">an image\u003c/a> on social media of artist Glenn Ligon’s work (they weren’t the only \u003ca href=\"https://www.instagram.com/p/CAyYq8PFBpi/\" rel=\"noopener noreferrer\" target=\"_blank\">institution\u003c/a> to do so), including a quote from Ligon but no statement from the museum itself. Taylor Brandon, a former SFMOMA communications associate, commented on the Instagram post, \u003ca href=\"https://www.kqed.org/arts/13881257\" rel=\"noopener noreferrer\" target=\"_blank\">later telling KQED\u003c/a>, “You can’t use the work of Black artists to make a statement you should make. You can’t stand behind the work of Black people to do the work you need to do inside.”\u003c/p>\n\u003cp>When the museum deleted Brandon’s comment and disabled comments on the post, \u003ca href=\"https://www.instagram.com/p/CA3LjlUBGqP/\" rel=\"noopener noreferrer\" target=\"_blank\">screenshots\u003c/a> shared by SFMOMA’s labor union, OPEIU Local 29, spread through the Bay Area arts community, inciting outcry on social media. Brandon connected with the Nure Collective, a Bay Area group of Black artists who had been commissioned by the museum to create content for SFMOMA’s “#MuseumFromHome” initiative, to issue a seven-point \u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Nure-Collective-Letter-to-SFMOMA-final.pdf\" rel=\"noopener noreferrer\" target=\"_blank\">list of demands\u003c/a> on June 2. Among them was a demand for “SFMOMA [to] seriously consider replacing upper-level Marketing + Communications staff who have proven their racial bias.”\u003c/p>\n\u003cp>That same day, Keeton explained in an SFMOMA staff meeting that the museum removed Brandon’s comment because it deemed the remarks “potential threats” that “target individuals.” In a conversation with KQED, Brandon described Keeton’s statement as a bad-faith misreading of her comments.\u003c/p>\n\u003cp>When asked if Keeton was stepping down in response to these events and the ongoing pressure on the museum, SFMOMA’s spokesperson did not respond. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In recent weeks, the number of groups calling for change at SFMOMA has grown. Brandon and the Nure Collective have joined forces with CTRL+SHFT Collective, Heavy Breathing, the Prison Arts Project and Work More! to form \u003ca href=\"https://www.noneutralalliance.com/\" rel=\"noopener noreferrer\" target=\"_blank\">No Neutral Alliance\u003c/a>—groups all initially included in SFMOMA’s #MuseumFromHome program. (All have since requested their work be removed from SFMOMA’s website.) \u003c/p>\n\u003cp>A multiracial group of former SFMOMA workers calling themselves \u003ca href=\"https://www.instagram.com/xsfm0ma/\" rel=\"noopener noreferrer\" target=\"_blank\">XSFMOMA\u003c/a> issued their own \u003ca href=\"https://drive.google.com/file/d/1ICDUYGGYVDUKkYxEPHIrc3GEZ8Gw8LLE/view\" rel=\"noopener noreferrer\" target=\"_blank\">open letter\u003c/a> on June 23, calling on the museum to fulfill the demands made by Taylor and No Neutral Alliance.\u003c/p>\n\u003cp>“We’ve heard the news of Nan Keeton’s resignation,” No Neutral Alliance wrote in a statement to KQED. “The No Neutral Alliance maintains our list of demands from the letter released June 12, none of which have been fulfilled upon the resignation of Keeton.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>SFMOMA Director Neal Benezra has yet to meet with members of No Neutral Alliance, which is now sharing annotated screenshots of their email correspondence on \u003ca href=\"https://www.instagram.com/noneutralalliance/\" rel=\"noopener noreferrer\" target=\"_blank\">Instagram\u003c/a>. SFMOMA’s own Instagram account has been inactive since \u003ca href=\"https://www.instagram.com/p/CBBIbYtlERX/\" rel=\"noopener noreferrer\" target=\"_blank\">June 4\u003c/a>, when the museum posted an apology from Benezra claiming full responsibility for the deletion of Brandon’s comment.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Carl Reiner, Actor, Director, Writer, Producer And Mensch, Dies At 98",
"headTitle": "Carl Reiner, Actor, Director, Writer, Producer And Mensch, Dies At 98 | KQED",
"content": "\u003cp>Carl Reiner’s career began at the dawn of television comedy in the 1950s and lasted more than six decades. The actor, director, writer and producer died of natural causes Monday night at his home in Beverly Hills.\u003c/p>\n\u003cp>Reiner belonged to a generation of Jewish comics who helped define American comedy in the 20th century. He was born Carleton Reiner in the Bronx in 1922 to parents who had emigrated from Europe. He began as a serious actor, then a stand-up comic.\u003c/p>\n\u003cfigure id=\"attachment_13882727\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Reiner.Nation-800x617.jpg\" alt=\"Reiner (top center), Sid Caesar (left), and Howard Morris bother railroad commuter Nanette Fabray on an episode of the sketch comedy show 'Caesar's Hour' in 1955.\" width=\"800\" height=\"617\" class=\"size-medium wp-image-13882727\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-800x617.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-1020x786.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-768x592.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reiner (top center), Sid Caesar (left), and Howard Morris bother railroad commuter Nanette Fabray on an episode of the sketch comedy show ‘Caesar’s Hour’ in 1955. \u003ccite>(Associated Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1950, comic actor Sid Caesar hired Reiner for the pioneering live TV sketch comedy program, \u003cem>Your Show of Shows.\u003c/em> Reiner was a writer alongside Woody Allen, Neil Simon and Mel Brooks. He also acted as a supporting player.\u003c/p>\n\u003cp>“Being a second banana to such a massive first banana … wasn’t a comedown at all for me,” said Reiner. “I realized I was working with the best.”\u003c/p>\n\u003cp>Reiner always seemed to work with the best — Caesar, Brooks, Steve Martin, Lily Tomlin, George Clooney, Amy Poehler.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Along with Brooks, Reiner co-created one of American comedy’s most memorable characters — the \u003ca href=\"https://www.youtube.com/watch?v=XOTKDgrdvdg\">2,000-year-old man\u003c/a>. It began as a party joke, and became a huge hit on albums, in clubs and on television. In the skit, Reiner would interview Brooks, who played the oldest man in the world.\u003c/p>\n\u003cp>https://youtu.be/XOTKDgrdvdg\u003c/p>\n\u003cp>“My job is the job of the audience,” \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=120909130\">Reiner told NPR’s Scott Simon\u003c/a> in 2009. “I’m asking all the questions the audience would die to ask a man who lived for 2,000 years.”\u003c/p>\n\u003cp>It was a combination of truth and incongruity that made it work.\u003c/p>\n\u003cp>Reiner’s most memorable solo creation came in 1960, when he wrote a script for a TV sitcom called \u003cem>Head of the Family.\u003c/em> It was about a TV comedy writer and he was the star. But Reiner couldn’t sell the show until someone else was cast in the lead — that someone else turned out to be Dick Van Dyke. \u003c/p>\n\u003cp>\u003cem> The Dick Van Dyke Show \u003c/em>was a milestone in American TV sitcoms. Reiner wrote many episodes and he played Alan Brady, the arrogant and egotistical star of the show within the show. The show ran from 1961 to 1966. It made stars of both Van Dyke and Mary Tyler Moore.\u003c/p>\n\u003cp>“He’s not only been my mentor and good friend, but possibly the best comedy writer who ever lived,” Van Dyke said of Reiner \u003ca href=\"http://www.npr.org/2015/10/11/447591736/dance-sing-just-keep-moving-dick-van-dyke-tells-seniors\">in a 2015 NPR interview\u003c/a>.\u003c/p>\n\u003cp>Reiner directed more than a dozen movies, including four with Steve Martin. “We became very, very close,” Martin said. “He was like a father to me — although I wouldn’t let him bathe me like he wanted to.”\u003c/p>\n\u003cfigure id=\"attachment_13882728\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Reiner.Awards-800x691.jpg\" alt=\"Reiner won an Emmy award for Outstanding Writing Achievement in Comedy for The Dick Van Dyke in 1963.\" width=\"800\" height=\"691\" class=\"size-medium wp-image-13882728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-800x691.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-1020x881.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-768x663.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reiner won an Emmy award for Outstanding Writing Achievement in Comedy for The Dick Van Dyke in 1963. \u003ccite>(Associated Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reiner was a funny man. But if there’s a theme to his career, it was that he made other comics funnier. He was a \u003cem>mensch\u003c/em>. He won nine Emmys and a Grammy. And yet whenever it was time to take credit for something, Reiner would almost always deflect the credit to his partners, whether it was to his longtime collaborator Mel Brooks (“Mel Brooks is the single funniest human being that I ever met”) or his wife of almost 65 years, Estelle (“I never felt that I had enough words to be a writer, but my wife is the one who gave me the key.”)\u003c/p>\n\u003cp>Estelle Reiner died in 2008. They had three children, including Rob Reiner who — inspired by his father — has also directed and acted in dozens of movies and TV shows.\u003c/p>\n\u003cp>Reiner was active well into his 90s. On \u003cem>Parks and Recreation\u003c/em> he played a politically-powerful senior. He did voice-overs for the TV series \u003cem>Bob’s Burgers\u003c/em>. And \u003ca href=\"https://twitter.com/carlreiner\">he tweeted\u003c/a>.\u003c/p>\n\u003cp>The two old friends — Brooks and Reiner — had dinner together almost every night. In 2012, \u003ca href=\"http://comediansincarsgettingcoffee.com/carl-reiner-mel-brooks-i-want-sandwiches-i-want-chicken\">they did an episode\u003c/a> of Jerry Seinfeld’s Web series \u003cem>Comedians in Cars Getting Coffee.\u003c/em> As Seinfeld walked out the front door of Reiner’s house, he just \u003cem>had\u003c/em> to tell one more joke.\u003c/p>\n\u003cp>“Hey Jerry,” Reiner called. “You know the difference between a Jew and a Frenchman? A Frenchman leaves without saying goodbye. A Jew says goodbye and never leaves.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Goodbye, Carl Reiner. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Carl+Reiner%2C+Actor%2C+Director%2C+Writer%2C+Producer+And+Mensch%2C+Dies+At+98&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Carl Reiner’s career began at the dawn of television comedy in the 1950s and lasted more than six decades. The actor, director, writer and producer died of natural causes Monday night at his home in Beverly Hills.\u003c/p>\n\u003cp>Reiner belonged to a generation of Jewish comics who helped define American comedy in the 20th century. He was born Carleton Reiner in the Bronx in 1922 to parents who had emigrated from Europe. He began as a serious actor, then a stand-up comic.\u003c/p>\n\u003cfigure id=\"attachment_13882727\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Reiner.Nation-800x617.jpg\" alt=\"Reiner (top center), Sid Caesar (left), and Howard Morris bother railroad commuter Nanette Fabray on an episode of the sketch comedy show 'Caesar's Hour' in 1955.\" width=\"800\" height=\"617\" class=\"size-medium wp-image-13882727\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-800x617.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-1020x786.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation-768x592.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Nation.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reiner (top center), Sid Caesar (left), and Howard Morris bother railroad commuter Nanette Fabray on an episode of the sketch comedy show ‘Caesar’s Hour’ in 1955. \u003ccite>(Associated Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1950, comic actor Sid Caesar hired Reiner for the pioneering live TV sketch comedy program, \u003cem>Your Show of Shows.\u003c/em> Reiner was a writer alongside Woody Allen, Neil Simon and Mel Brooks. He also acted as a supporting player.\u003c/p>\n\u003cp>“Being a second banana to such a massive first banana … wasn’t a comedown at all for me,” said Reiner. “I realized I was working with the best.”\u003c/p>\n\u003cp>Reiner always seemed to work with the best — Caesar, Brooks, Steve Martin, Lily Tomlin, George Clooney, Amy Poehler.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Along with Brooks, Reiner co-created one of American comedy’s most memorable characters — the \u003ca href=\"https://www.youtube.com/watch?v=XOTKDgrdvdg\">2,000-year-old man\u003c/a>. It began as a party joke, and became a huge hit on albums, in clubs and on television. In the skit, Reiner would interview Brooks, who played the oldest man in the world.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XOTKDgrdvdg'\n title='//www.youtube.com/embed/XOTKDgrdvdg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“My job is the job of the audience,” \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=120909130\">Reiner told NPR’s Scott Simon\u003c/a> in 2009. “I’m asking all the questions the audience would die to ask a man who lived for 2,000 years.”\u003c/p>\n\u003cp>It was a combination of truth and incongruity that made it work.\u003c/p>\n\u003cp>Reiner’s most memorable solo creation came in 1960, when he wrote a script for a TV sitcom called \u003cem>Head of the Family.\u003c/em> It was about a TV comedy writer and he was the star. But Reiner couldn’t sell the show until someone else was cast in the lead — that someone else turned out to be Dick Van Dyke. \u003c/p>\n\u003cp>\u003cem> The Dick Van Dyke Show \u003c/em>was a milestone in American TV sitcoms. Reiner wrote many episodes and he played Alan Brady, the arrogant and egotistical star of the show within the show. The show ran from 1961 to 1966. It made stars of both Van Dyke and Mary Tyler Moore.\u003c/p>\n\u003cp>“He’s not only been my mentor and good friend, but possibly the best comedy writer who ever lived,” Van Dyke said of Reiner \u003ca href=\"http://www.npr.org/2015/10/11/447591736/dance-sing-just-keep-moving-dick-van-dyke-tells-seniors\">in a 2015 NPR interview\u003c/a>.\u003c/p>\n\u003cp>Reiner directed more than a dozen movies, including four with Steve Martin. “We became very, very close,” Martin said. “He was like a father to me — although I wouldn’t let him bathe me like he wanted to.”\u003c/p>\n\u003cfigure id=\"attachment_13882728\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Reiner.Awards-800x691.jpg\" alt=\"Reiner won an Emmy award for Outstanding Writing Achievement in Comedy for The Dick Van Dyke in 1963.\" width=\"800\" height=\"691\" class=\"size-medium wp-image-13882728\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-800x691.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-1020x881.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards-768x663.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Reiner.Awards.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reiner won an Emmy award for Outstanding Writing Achievement in Comedy for The Dick Van Dyke in 1963. \u003ccite>(Associated Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reiner was a funny man. But if there’s a theme to his career, it was that he made other comics funnier. He was a \u003cem>mensch\u003c/em>. He won nine Emmys and a Grammy. And yet whenever it was time to take credit for something, Reiner would almost always deflect the credit to his partners, whether it was to his longtime collaborator Mel Brooks (“Mel Brooks is the single funniest human being that I ever met”) or his wife of almost 65 years, Estelle (“I never felt that I had enough words to be a writer, but my wife is the one who gave me the key.”)\u003c/p>\n\u003cp>Estelle Reiner died in 2008. They had three children, including Rob Reiner who — inspired by his father — has also directed and acted in dozens of movies and TV shows.\u003c/p>\n\u003cp>Reiner was active well into his 90s. On \u003cem>Parks and Recreation\u003c/em> he played a politically-powerful senior. He did voice-overs for the TV series \u003cem>Bob’s Burgers\u003c/em>. And \u003ca href=\"https://twitter.com/carlreiner\">he tweeted\u003c/a>.\u003c/p>\n\u003cp>The two old friends — Brooks and Reiner — had dinner together almost every night. In 2012, \u003ca href=\"http://comediansincarsgettingcoffee.com/carl-reiner-mel-brooks-i-want-sandwiches-i-want-chicken\">they did an episode\u003c/a> of Jerry Seinfeld’s Web series \u003cem>Comedians in Cars Getting Coffee.\u003c/em> As Seinfeld walked out the front door of Reiner’s house, he just \u003cem>had\u003c/em> to tell one more joke.\u003c/p>\n\u003cp>“Hey Jerry,” Reiner called. “You know the difference between a Jew and a Frenchman? A Frenchman leaves without saying goodbye. A Jew says goodbye and never leaves.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Goodbye, Carl Reiner. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Carl+Reiner%2C+Actor%2C+Director%2C+Writer%2C+Producer+And+Mensch%2C+Dies+At+98&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The nonprofit arm of Andy and Deborah Rappaport’s Minnesota Street Project arts hub announced today the creation of two new grantmaking programs to “address the systemic racism in the art world.” The couple has seeded an initial $150,000 to the programs, which are called the California Black Voices Project and Grants for Arts Equity.\u003c/p>\n\u003cp>The California Black Voices Project will bestow five grants of $10,000 each on Black artists, curators or collectives to create new artwork or exhibitions in any medium. Grantees will receive exhibition space at the Minnesota Street Project’s Dogpatch gallery building, 1275 Minnesota Street, home to a dozen galleries and currently open only by appointment due to the ongoing pandemic. Guidelines and the jury for the California Black Voices Project will be announced by July 15, with applications due by Aug. 31. Grantees will be announced in September.\u003c/p>\n\u003cp>Grants for Arts Equity will provide capacity-building grants to Bay Area visual arts organizations serving BIPOC and “other underserved audiences.” This program will provide grants of up to $10,000 per organization; applications will open July 15 and funds will be distributed starting in September on a rolling basis.\u003c/p>\n\u003cp>The foundation encourages other funders to match the Rappaports’ investment in the local and state arts ecosystem, hinting that more grantmaking programs are coming before the end of 2020.\u003c/p>\n\u003cp>The \u003ca href=\"https://minnesotastreetproject.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Minnesota Street Project Foundation\u003c/a> was created in late 2019. In its initial press release the foundation promised to “engage sponsorship opportunities, curate experiences, encourage community efforts, and help organizations meet funders where they want to be met.” The California Black Voices Project and Grants for Arts Equity programs mark the first dispersal of funds from the foundation. \u003ca href=\"https://minnesotastreetproject.org/new-page-4\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The nonprofit arm of Andy and Deborah Rappaport’s Minnesota Street Project arts hub announced today the creation of two new grantmaking programs to “address the systemic racism in the art world.” The couple has seeded an initial $150,000 to the programs, which are called the California Black Voices Project and Grants for Arts Equity.\u003c/p>\n\u003cp>The California Black Voices Project will bestow five grants of $10,000 each on Black artists, curators or collectives to create new artwork or exhibitions in any medium. Grantees will receive exhibition space at the Minnesota Street Project’s Dogpatch gallery building, 1275 Minnesota Street, home to a dozen galleries and currently open only by appointment due to the ongoing pandemic. Guidelines and the jury for the California Black Voices Project will be announced by July 15, with applications due by Aug. 31. Grantees will be announced in September.\u003c/p>\n\u003cp>Grants for Arts Equity will provide capacity-building grants to Bay Area visual arts organizations serving BIPOC and “other underserved audiences.” This program will provide grants of up to $10,000 per organization; applications will open July 15 and funds will be distributed starting in September on a rolling basis.\u003c/p>\n\u003cp>The foundation encourages other funders to match the Rappaports’ investment in the local and state arts ecosystem, hinting that more grantmaking programs are coming before the end of 2020.\u003c/p>\n\u003cp>The \u003ca href=\"https://minnesotastreetproject.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Minnesota Street Project Foundation\u003c/a> was created in late 2019. In its initial press release the foundation promised to “engage sponsorship opportunities, curate experiences, encourage community efforts, and help organizations meet funders where they want to be met.” The California Black Voices Project and Grants for Arts Equity programs mark the first dispersal of funds from the foundation. \u003ca href=\"https://minnesotastreetproject.org/new-page-4\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Young Curt, Influential Pittsburg Rapper, Dies in Vehicle Collision",
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"content": "\u003cp>\u003ca href=\"https://soundcloud.com/youngcurt\" target=\"_blank\" rel=\"noopener noreferrer\">Young Curt\u003c/a>, an influential Pittsburg rapper-producer who helped shape the Bay Area music scene with “\u003ca href=\"https://www.youtube.com/watch?v=Ts1nco9n7E4\" target=\"_blank\" rel=\"noopener noreferrer\">This Beat Hit\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=iw6JPK37IbU\" target=\"_blank\" rel=\"noopener noreferrer\">She So Bad\u003c/a>” and other late-2000s regional anthems, died Monday, June 29, in a vehicle collision. According to authorities, Young Curt, whose real name is Curtis Denton Jr., was speeding south on the Byron Highway in Eastern Contra Costa County when he lost control of his car, causing it to flip over several times. The 27-year-old died on his way to an Antioch hospital in the early hours of the morning.\u003c/p>\n\u003cp>Known for danceable, high-energy tracks emblematic of the Bay Area’s hyphy movement, Young Curt had an unsung influence on West Coast rap. In the years after the release of his best-known mixtape, 2009’s \u003cem>This Shit Don’t Stop Vol. 1\u003c/em>, fans drew comparisons between him and Los Angeles acts that became popular in the years that followed, including DJ Mustard, YG, Tyga and Blueface. Unlike the aforementioned artists, Young Curt, who got his first break in music when he was 16, never signed to a major label and his music never charted on Billboard.\u003c/p>\n\u003cp>Young Curt was poised for a second act of his career, his manager Bilal Rahimi tells KQED. After years of being ignored by the mainstream, the artist’s luck turned around when Tyga gave him publishing rights to his 2019 song “Bop,” which resembled Young Curt’s “\u003ca href=\"https://www.youtube.com/watch?v=5I3_3Vu-fpo\" target=\"_blank\" rel=\"noopener noreferrer\">It’s the Mobb\u003c/a>,” released a decade prior.\u003c/p>\n\u003cp>Rahimi says the deal caught the attention of San Francisco distribution label EMPIRE. EMPIRE was set to release Young Curt’s new album later this year, which Rahimi now hopes to put out posthumously. Young Curt’s career was taking off in other ways as well: a song of his had gone viral on TikTok, and he had finalized paperwork to enter the cannabis business with his own marijuana strain.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“Tyga shouted us out, gave us credit where it was due and finally connected the dots. His royalties went up,” says Rahimi. “Everything’s been going really good since then. We were on the way to exploding right now; we were on the way to giving him what he deserved.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Rahimi says that Young Curt is survived by his mother, father and three siblings. He lived in Tracy and made frequent visits to his hometown of Pittsburg, where he was a role model to young people. \u003cspan class=\"s1\">“He always came back to Pittsburg for the kids—he was their famous guy,” he says. “He always wanted to make it like he was part of them. He would literally come there just to show them, ‘You can do this.’ He showed all the kids love in the neighborhood.”\u003c/span>\u003c/p>\n\u003cp>On social media, notable California artists paid their respects, including Guapdad 4000 and Kamaiyah.\u003c/p>\n\u003cp>“RIP YOUNG CURT!” Guapdad wrote on Twitter. “A Bay Area pioneer who never got his credit. He influenced production from the Bay all the way down to LA artists who got on the wave.”\u003c/p>\n\u003cp>https://twitter.com/guapdad4000/status/1277660354030350337?s=20\u003c/p>\n\u003cp>https://twitter.com/kamaiyah/status/1277647672485150720?s=20\u003c/p>\n\u003cp>https://twitter.com/Saweetie/status/1277688614567030786?s=20\u003c/p>\n\u003cp>https://twitter.com/Cal_A/status/1277648958853017600?s=20\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/EMPIRE/status/1277658021334626304?s=20\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://soundcloud.com/youngcurt\" target=\"_blank\" rel=\"noopener noreferrer\">Young Curt\u003c/a>, an influential Pittsburg rapper-producer who helped shape the Bay Area music scene with “\u003ca href=\"https://www.youtube.com/watch?v=Ts1nco9n7E4\" target=\"_blank\" rel=\"noopener noreferrer\">This Beat Hit\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=iw6JPK37IbU\" target=\"_blank\" rel=\"noopener noreferrer\">She So Bad\u003c/a>” and other late-2000s regional anthems, died Monday, June 29, in a vehicle collision. According to authorities, Young Curt, whose real name is Curtis Denton Jr., was speeding south on the Byron Highway in Eastern Contra Costa County when he lost control of his car, causing it to flip over several times. The 27-year-old died on his way to an Antioch hospital in the early hours of the morning.\u003c/p>\n\u003cp>Known for danceable, high-energy tracks emblematic of the Bay Area’s hyphy movement, Young Curt had an unsung influence on West Coast rap. In the years after the release of his best-known mixtape, 2009’s \u003cem>This Shit Don’t Stop Vol. 1\u003c/em>, fans drew comparisons between him and Los Angeles acts that became popular in the years that followed, including DJ Mustard, YG, Tyga and Blueface. Unlike the aforementioned artists, Young Curt, who got his first break in music when he was 16, never signed to a major label and his music never charted on Billboard.\u003c/p>\n\u003cp>Young Curt was poised for a second act of his career, his manager Bilal Rahimi tells KQED. After years of being ignored by the mainstream, the artist’s luck turned around when Tyga gave him publishing rights to his 2019 song “Bop,” which resembled Young Curt’s “\u003ca href=\"https://www.youtube.com/watch?v=5I3_3Vu-fpo\" target=\"_blank\" rel=\"noopener noreferrer\">It’s the Mobb\u003c/a>,” released a decade prior.\u003c/p>\n\u003cp>Rahimi says the deal caught the attention of San Francisco distribution label EMPIRE. EMPIRE was set to release Young Curt’s new album later this year, which Rahimi now hopes to put out posthumously. Young Curt’s career was taking off in other ways as well: a song of his had gone viral on TikTok, and he had finalized paperwork to enter the cannabis business with his own marijuana strain.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“Tyga shouted us out, gave us credit where it was due and finally connected the dots. His royalties went up,” says Rahimi. “Everything’s been going really good since then. We were on the way to exploding right now; we were on the way to giving him what he deserved.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Rahimi says that Young Curt is survived by his mother, father and three siblings. He lived in Tracy and made frequent visits to his hometown of Pittsburg, where he was a role model to young people. \u003cspan class=\"s1\">“He always came back to Pittsburg for the kids—he was their famous guy,” he says. “He always wanted to make it like he was part of them. He would literally come there just to show them, ‘You can do this.’ He showed all the kids love in the neighborhood.”\u003c/span>\u003c/p>\n\u003cp>On social media, notable California artists paid their respects, including Guapdad 4000 and Kamaiyah.\u003c/p>\n\u003cp>“RIP YOUNG CURT!” Guapdad wrote on Twitter. “A Bay Area pioneer who never got his credit. He influenced production from the Bay all the way down to LA artists who got on the wave.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>fter coming out for the second time (first as a lesbian, then as bisexual) in the early ’80s, Lani Ka’ahumanu got together with the few out bi people in the San Francisco gay and lesbian community and started \u003ca href=\"https://www.lanikaahumanu.com/images/BiPOL%20statement%20of%20purpose_large.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">BiPOL\u003c/a>, the first advocacy organization of its kind in the United States.\u003c/p>\n\u003cp>The problem was, no one wanted to join—at least not publicly.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“We’d go out there speaking for the bisexual community and we’d come into our meetings going, ‘Oh my god, where are they?’ We were all confessionals, all of us, for people who were too afraid to come out as bisexual,” Ka’ahumanu, now 76 years old, says over the phone from her home in Sonoma County. “I had more lesbians come up to me, or call me on the phone and say, ‘You don’t know me, but someone gave me your number. I’ve been relating to a man for six months and I’m really scared to come out or else I’d lose my community’—which is what happened to me.” [aside postid='arts_13881934']\u003c/span>\u003c/p>\n\u003cp>Indeed, Ka’ahumanu understood their trepidation. In the 1970s, lesbians were fighting for visibility within the nascent gay rights movement, and identifying as one was often considered a political orientation—not just a sexual one. Early lesbian organizations encouraged bisexual women to pick a side, and many chose to hide the fact that they loved men as well as women in order to be accepted in this new community.\u003c/p>\n\u003cp>In response to the dominant culture’s homophobia, gay rights activists in the 1970s adopted a born-this-way, binary view of sexuality as a means of \u003ca href=\"https://www.buzzfeednews.com/article/michaelwaters/lgbt-rights-movement-sexual-fluidity-bisexuality-pride\" target=\"_blank\" rel=\"noopener noreferrer\">gaining legal protections\u003c/a> that hinged on defining sexual attraction as a biological, immutable characteristic. But that political ideology didn’t match many people’s lived experience of fluid sexual desire. After she left her husband and moved to San Francisco in the ’70s, Ka’ahumanu bought into the stereotype that bisexuality was just pitstop to coming out as gay or lesbian. Then, after years of dating women, things changed when she fell in love with a bisexual man, Bill Mack, who was traveling through a Mendocino County clothing-optional resort where Ka’ahumanu worked as a chef. In 1983, she and Mack started BiPOL along with \u003cspan class=\"s1\">Autumn Courtney, Arlene Krantz, David Loreau, Alan Rockway and Maggi Rubenstein.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The founders of BiPOL were frustrated with the fact that lesbian and gay organizations treated their identity as illegitimate, telling them that they had “straight privilege” and no place in the movement. Meanwhile, in the heterosexual world, the only time bisexuals ever came up in the mainstream media was when they were demonized. \u003cspan class=\"s1\">“Bisexual men became the \u003ca href=\"https://www.pbs.org/newshour/nation/typhoid-marys-life-sentence-quarantine\" target=\"_blank\" rel=\"noopener noreferrer\">Typhoid Marys\u003c/a>. … We were the ones that were ‘spreading AIDS,’” Ka’ahumanu recalls. “Yet we were told we didn’t exist.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hen the Democratic National Committee announced that it would hold its convention in San Francisco in July 1984, two weeks after the Pride parade, the members of BiPOL knew they had an opportunity to do something to promote their cause—something big.\u003c/p>\n\u003cp>Rockway had political experience in Florida, where he helped write one of the United States’ first gay and lesbian non-discrimination ordinances. He hatched a plan: BiPOL would nominate one of its members for the office of vice president of the United States. Though presidential nominees chose their running mates in practice (it was already common knowledge that Walter Mondale had chosen Geraldine Ferraro in his race against Ronald Reagan), DNC rules stipulated that with enough delegate signatures, vice presidential hopefuls could still have the chance to address the DNC—and, more importantly, the American public—at the televised convention.\u003c/p>\n\u003cp>It was a golden opportunity for BiPOL to get bisexuality in the news—and to advocate for AIDS/HIV research and treatment at a time when the disease was ravaging the community. In a savvy move, Rockway decided that BiPOL’s nominee should be Ka’ahumanu: she had the perfect, media-friendly backstory as a former heterosexual housewife who gave up her cookie-cutter life and was now an out-and-proud queer mother. He knew the political press, hungry for kooky stories from San Francisco, would run with it.\u003c/p>\n\u003cp>BiPOL announced a press conference about Ka’ahumanu’s candidacy to local outlets—and, to the activists’ surprise, reporters with notepads arrived at the appointed time at the Moscone Center, asking her the questions they would of a serious candidate. Inspired by the political theater of the era—the Sisters of Perpetual Indulgence, San Francisco’s order of drag queen-activist nuns, had begun protesting in habits and wild makeup only a few years prior—the members of BiPOL showed up with airplane-sickness bags labeled “BARF,” with each letter symbolizing the name of a noted homophobe, including President Reagan, evangelical preacher Jerry Falwell and right-wing pop vocalist Anita Bryant, the citrus spokesperson who famously waged an anti-gay media campaign in the 1970s that resulted in a \u003ca href=\"https://www.washingtonpost.com/outlook/2019/06/21/myth-that-has-shaped-christian-right-lgbtq-rights-movement-four-decades/\" target=\"_blank\" rel=\"noopener noreferrer\">Florida orange juice boycott\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13882631\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882631\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/lani-1984-800x605.jpg\" alt=\"\" width=\"800\" height=\"605\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/lani-1984-800x605.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/lani-1984-1020x772.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/lani-1984-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/lani-1984-768x581.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/lani-1984-1536x1162.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/lani-1984.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lani Ka’ahumanu addressing constituents in 1984. \u003ccite>(Courtesy fo Lani Ka'ahumanu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The stunt confused the press, resulting in the headline “\u003cspan class=\"s1\">Terrified Woman Handing Out Air Sickness Bags Announces Candidacy,” as Ka’ahumanu remembers it, in the \u003cem>San Francisco Examiner\u003c/em>. \u003c/span>\u003c/p>\n\u003cp>Though the headline didn’t quite convey the purpose of the campaign, the article \u003cem>did\u003c/em> mention bisexual rights. That was a win. And as BiPOL ramped up its media antics in the days leading up the DNC, other media mentions followed.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“It was important visibility,” says Ka’ahumanu. “Even if it sounds completely silly, at the time there was nothing about bisexuality except the negative piece that we’re spreading HIV/AIDS. If we’re out there talking about more funding for AIDS, the Equal Rights Amendment or recognizing lesbian, gay and bisexual families, it addresses the issues.”\u003c/span>\u003c/p>\n\u003cp>The day before the DNC, BiPOL held the nation’s first bisexual rights rally outside the Moscone Center. Admittedly, fewer attendees showed up than performers, which included a theater troupe called Ladies Against Women (satirizing right-wing female politicians), an out bisexual Reagan impersonator, a Veterans for Peace group and Dennis Peron, an early advocate for medical marijuana for AIDS patients. [aside postid='arts_13882197']\u003c/p>\n\u003cp>Despite the low attendance, to everyone’s surprise, BiPOL ended up having one of its most successful fundraisers to date. That same day, gay and lesbian Democrats organized a march from the Castro to the Moscone Center to promote their visibility in the DNC. And they explicitly told BiPOL organizers that bisexuals need not join them. But it was an uncharacteristically hot summer day in San Francisco, Ka’ahumanu recalls, and everyone was thirsty when they arrived at Moscone. Thankfully, the bisexuals were selling ice cold beverages outside.\u003c/p>\n\u003cp>“We had the last laugh on that one,” Ka’ahumanu says.\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n the days leading up to the DNC, \u003cspan class=\"s1\">Ka’ahumanu and her fellow BiPOL activists donned campaign T-shirts and set out with clipboards to scour San Francisco for Democratic Party delegates willing to sign her candidacy form, many of whom were tipsy at lavish parties, themed by state, in the ballrooms of the Hilton and other upscale hotels. \u003c/span>\u003c/p>\n\u003cp>“Puerto Rico had rum drinks and giant prawns and big ice sculptures—no holds barred on party[ing],” she says. “Every time we walked into a ballroom, it was like, ‘Holy mackerel, this is nuts.’”\u003c/p>\n\u003cp>The morning of the convention, the BiPOL team was pleased to have gathered well over the 200 required signatures, and Rockway went to DNC headquarters to submit them. After a formal count, however, Democratic Party officials claimed that Ka’ahumanu didn’t qualify; almost a third of the signatures were from alternates, not the delegates themselves, they said. As Ka’ahumanu recalls, the incensed BiPOL team stormed the DNC office, which was empty because party officials were already headed to the convention. But a binder with a list of delegates’ names revealed that some of the signatures that had been discounted were indeed from actual delegates.\u003c/p>\n\u003cp>Security arrived. Ka’ahumanu and Rockway demanded to speak to the head of the DNC, to no avail. “We knew it was over at that point,” she says. “But when we got together, we were amazed at what we had actually accomplished from this little idea about getting visibility and using political theater.”\u003c/p>\n\u003cp>Their accomplishment even snared the brass ring of media coverage at the time: a mention by prominent \u003cem>San Francisco Chronicle\u003c/em> columnist Herb Caen, despite Caen misspelling Ka’ahumanu’s name and taking subtle jabs at her sexuality and weight. “The Oral Majority tried to get a woman bisexual candidate nominated for Vice Pres. and collected 253 names on the necessary form (you only need 200) but the Demo Nat’l Committee quickly knocked off 99 signers as ‘unofficial,’ meaning alternates. The wouldn’t-be nominee: Loni Kaahunanu, a bisexual built for two,” Caen wrote.\u003c/p>\n\u003cp>Sure, not everybody got it, but Ka’ahumanu looks back at the summer of 1984 as a pivotal one for bisexual visibility. In the years that followed, she would continue her fight. In 1987, she helped create the Bay Area Bisexual Network, which took off as a social and support group for the bi community, attracting dozens of members. In 1990, she organized the first National Bisexual Conference. In 1991, she and co-editor Loraine Hutchins published the influential bisexual feminist anthology \u003cem>Bi Any Other Name\u003c/em>, and in 1993, she lobbied for bisexuals to be included in the March on Washington for Lesbian, Gay, and Bi Equal Rights and Liberation—where she was the only out bisexual speaker.\u003c/p>\n\u003cfigure id=\"attachment_13882632\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13882632 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Untitled-1.jpg\" alt=\"\" width=\"800\" height=\"1204\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Untitled-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Untitled-1-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Untitled-1-768x1156.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the first bisexual rights rally in 1984 in San Francisco (above). Gay and lesbian marchers overwhelming the drink stand (below). \u003ccite>(Courtesy of Lani Ka'ahumanu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ka’ahumanu and BiPOL’s work undoubtedly paved the way for increased acceptance of bisexuality and other fluid sexual identities, such as pansexual and queer. She and her allies were ahead of her time in other ways, as well: studies of Generation Z suggest the youngest generation embraces a spectrum, rather than rigid binary, of sexual orientations and gender identities alike.\u003c/p>\n\u003cp>Ka’ahumanu says she’s heartened by these generational shifts, and the increasing number of \u003ca href=\"https://www.sheknows.com/entertainment/slideshow/2090/openly-bisexual-celebrities/13/\" target=\"_blank\" rel=\"noopener noreferrer\">public figures\u003c/a> who identify as bi. But she also knows the work is not over.\u003c/p>\n\u003cp>“Why do bisexuals have \u003ca href=\"https://www.psychologytoday.com/us/blog/women-who-stray/201904/why-are-mental-health-issues-greater-among-bisexual-people\" target=\"_blank\" rel=\"noopener noreferrer\">higher depression rates, higher drug rates\u003c/a>? The invisibility is still a factor,” she says. “The fact that we can still be told make a choice—I still hear that from people. There’s a way in which bisexuals are still dismissed, whether it’s right in your face or it’s [treated as] not as important.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>She adds, “We are still fighting for visibility.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>Indeed, Ka’ahumanu understood their trepidation. In the 1970s, lesbians were fighting for visibility within the nascent gay rights movement, and identifying as one was often considered a political orientation—not just a sexual one. Early lesbian organizations encouraged bisexual women to pick a side, and many chose to hide the fact that they loved men as well as women in order to be accepted in this new community.\u003c/p>\n\u003cp>In response to the dominant culture’s homophobia, gay rights activists in the 1970s adopted a born-this-way, binary view of sexuality as a means of \u003ca href=\"https://www.buzzfeednews.com/article/michaelwaters/lgbt-rights-movement-sexual-fluidity-bisexuality-pride\" target=\"_blank\" rel=\"noopener noreferrer\">gaining legal protections\u003c/a> that hinged on defining sexual attraction as a biological, immutable characteristic. But that political ideology didn’t match many people’s lived experience of fluid sexual desire. After she left her husband and moved to San Francisco in the ’70s, Ka’ahumanu bought into the stereotype that bisexuality was just pitstop to coming out as gay or lesbian. Then, after years of dating women, things changed when she fell in love with a bisexual man, Bill Mack, who was traveling through a Mendocino County clothing-optional resort where Ka’ahumanu worked as a chef. In 1983, she and Mack started BiPOL along with \u003cspan class=\"s1\">Autumn Courtney, Arlene Krantz, David Loreau, Alan Rockway and Maggi Rubenstein.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The founders of BiPOL were frustrated with the fact that lesbian and gay organizations treated their identity as illegitimate, telling them that they had “straight privilege” and no place in the movement. Meanwhile, in the heterosexual world, the only time bisexuals ever came up in the mainstream media was when they were demonized. \u003cspan class=\"s1\">“Bisexual men became the \u003ca href=\"https://www.pbs.org/newshour/nation/typhoid-marys-life-sentence-quarantine\" target=\"_blank\" rel=\"noopener noreferrer\">Typhoid Marys\u003c/a>. … We were the ones that were ‘spreading AIDS,’” Ka’ahumanu recalls. “Yet we were told we didn’t exist.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hen the Democratic National Committee announced that it would hold its convention in San Francisco in July 1984, two weeks after the Pride parade, the members of BiPOL knew they had an opportunity to do something to promote their cause—something big.\u003c/p>\n\u003cp>Rockway had political experience in Florida, where he helped write one of the United States’ first gay and lesbian non-discrimination ordinances. He hatched a plan: BiPOL would nominate one of its members for the office of vice president of the United States. Though presidential nominees chose their running mates in practice (it was already common knowledge that Walter Mondale had chosen Geraldine Ferraro in his race against Ronald Reagan), DNC rules stipulated that with enough delegate signatures, vice presidential hopefuls could still have the chance to address the DNC—and, more importantly, the American public—at the televised convention.\u003c/p>\n\u003cp>It was a golden opportunity for BiPOL to get bisexuality in the news—and to advocate for AIDS/HIV research and treatment at a time when the disease was ravaging the community. In a savvy move, Rockway decided that BiPOL’s nominee should be Ka’ahumanu: she had the perfect, media-friendly backstory as a former heterosexual housewife who gave up her cookie-cutter life and was now an out-and-proud queer mother. He knew the political press, hungry for kooky stories from San Francisco, would run with it.\u003c/p>\n\u003cp>BiPOL announced a press conference about Ka’ahumanu’s candidacy to local outlets—and, to the activists’ surprise, reporters with notepads arrived at the appointed time at the Moscone Center, asking her the questions they would of a serious candidate. Inspired by the political theater of the era—the Sisters of Perpetual Indulgence, San Francisco’s order of drag queen-activist nuns, had begun protesting in habits and wild makeup only a few years prior—the members of BiPOL showed up with airplane-sickness bags labeled “BARF,” with each letter symbolizing the name of a noted homophobe, including President Reagan, evangelical preacher Jerry Falwell and right-wing pop vocalist Anita Bryant, the citrus spokesperson who famously waged an anti-gay media campaign in the 1970s that resulted in a \u003ca href=\"https://www.washingtonpost.com/outlook/2019/06/21/myth-that-has-shaped-christian-right-lgbtq-rights-movement-four-decades/\" target=\"_blank\" rel=\"noopener noreferrer\">Florida orange juice boycott\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13882631\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882631\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/lani-1984-800x605.jpg\" alt=\"\" width=\"800\" height=\"605\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/lani-1984-800x605.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/lani-1984-1020x772.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/lani-1984-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/lani-1984-768x581.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/lani-1984-1536x1162.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/lani-1984.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lani Ka’ahumanu addressing constituents in 1984. \u003ccite>(Courtesy fo Lani Ka'ahumanu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The stunt confused the press, resulting in the headline “\u003cspan class=\"s1\">Terrified Woman Handing Out Air Sickness Bags Announces Candidacy,” as Ka’ahumanu remembers it, in the \u003cem>San Francisco Examiner\u003c/em>. \u003c/span>\u003c/p>\n\u003cp>Though the headline didn’t quite convey the purpose of the campaign, the article \u003cem>did\u003c/em> mention bisexual rights. That was a win. And as BiPOL ramped up its media antics in the days leading up the DNC, other media mentions followed.\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">“It was important visibility,” says Ka’ahumanu. “Even if it sounds completely silly, at the time there was nothing about bisexuality except the negative piece that we’re spreading HIV/AIDS. If we’re out there talking about more funding for AIDS, the Equal Rights Amendment or recognizing lesbian, gay and bisexual families, it addresses the issues.”\u003c/span>\u003c/p>\n\u003cp>The day before the DNC, BiPOL held the nation’s first bisexual rights rally outside the Moscone Center. Admittedly, fewer attendees showed up than performers, which included a theater troupe called Ladies Against Women (satirizing right-wing female politicians), an out bisexual Reagan impersonator, a Veterans for Peace group and Dennis Peron, an early advocate for medical marijuana for AIDS patients. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite the low attendance, to everyone’s surprise, BiPOL ended up having one of its most successful fundraisers to date. That same day, gay and lesbian Democrats organized a march from the Castro to the Moscone Center to promote their visibility in the DNC. And they explicitly told BiPOL organizers that bisexuals need not join them. But it was an uncharacteristically hot summer day in San Francisco, Ka’ahumanu recalls, and everyone was thirsty when they arrived at Moscone. Thankfully, the bisexuals were selling ice cold beverages outside.\u003c/p>\n\u003cp>“We had the last laugh on that one,” Ka’ahumanu says.\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n the days leading up to the DNC, \u003cspan class=\"s1\">Ka’ahumanu and her fellow BiPOL activists donned campaign T-shirts and set out with clipboards to scour San Francisco for Democratic Party delegates willing to sign her candidacy form, many of whom were tipsy at lavish parties, themed by state, in the ballrooms of the Hilton and other upscale hotels. \u003c/span>\u003c/p>\n\u003cp>“Puerto Rico had rum drinks and giant prawns and big ice sculptures—no holds barred on party[ing],” she says. “Every time we walked into a ballroom, it was like, ‘Holy mackerel, this is nuts.’”\u003c/p>\n\u003cp>The morning of the convention, the BiPOL team was pleased to have gathered well over the 200 required signatures, and Rockway went to DNC headquarters to submit them. After a formal count, however, Democratic Party officials claimed that Ka’ahumanu didn’t qualify; almost a third of the signatures were from alternates, not the delegates themselves, they said. As Ka’ahumanu recalls, the incensed BiPOL team stormed the DNC office, which was empty because party officials were already headed to the convention. But a binder with a list of delegates’ names revealed that some of the signatures that had been discounted were indeed from actual delegates.\u003c/p>\n\u003cp>Security arrived. Ka’ahumanu and Rockway demanded to speak to the head of the DNC, to no avail. “We knew it was over at that point,” she says. “But when we got together, we were amazed at what we had actually accomplished from this little idea about getting visibility and using political theater.”\u003c/p>\n\u003cp>Their accomplishment even snared the brass ring of media coverage at the time: a mention by prominent \u003cem>San Francisco Chronicle\u003c/em> columnist Herb Caen, despite Caen misspelling Ka’ahumanu’s name and taking subtle jabs at her sexuality and weight. “The Oral Majority tried to get a woman bisexual candidate nominated for Vice Pres. and collected 253 names on the necessary form (you only need 200) but the Demo Nat’l Committee quickly knocked off 99 signers as ‘unofficial,’ meaning alternates. The wouldn’t-be nominee: Loni Kaahunanu, a bisexual built for two,” Caen wrote.\u003c/p>\n\u003cp>Sure, not everybody got it, but Ka’ahumanu looks back at the summer of 1984 as a pivotal one for bisexual visibility. In the years that followed, she would continue her fight. In 1987, she helped create the Bay Area Bisexual Network, which took off as a social and support group for the bi community, attracting dozens of members. In 1990, she organized the first National Bisexual Conference. In 1991, she and co-editor Loraine Hutchins published the influential bisexual feminist anthology \u003cem>Bi Any Other Name\u003c/em>, and in 1993, she lobbied for bisexuals to be included in the March on Washington for Lesbian, Gay, and Bi Equal Rights and Liberation—where she was the only out bisexual speaker.\u003c/p>\n\u003cfigure id=\"attachment_13882632\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13882632 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Untitled-1.jpg\" alt=\"\" width=\"800\" height=\"1204\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Untitled-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Untitled-1-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Untitled-1-768x1156.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the first bisexual rights rally in 1984 in San Francisco (above). Gay and lesbian marchers overwhelming the drink stand (below). \u003ccite>(Courtesy of Lani Ka'ahumanu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ka’ahumanu and BiPOL’s work undoubtedly paved the way for increased acceptance of bisexuality and other fluid sexual identities, such as pansexual and queer. She and her allies were ahead of her time in other ways, as well: studies of Generation Z suggest the youngest generation embraces a spectrum, rather than rigid binary, of sexual orientations and gender identities alike.\u003c/p>\n\u003cp>Ka’ahumanu says she’s heartened by these generational shifts, and the increasing number of \u003ca href=\"https://www.sheknows.com/entertainment/slideshow/2090/openly-bisexual-celebrities/13/\" target=\"_blank\" rel=\"noopener noreferrer\">public figures\u003c/a> who identify as bi. But she also knows the work is not over.\u003c/p>\n\u003cp>“Why do bisexuals have \u003ca href=\"https://www.psychologytoday.com/us/blog/women-who-stray/201904/why-are-mental-health-issues-greater-among-bisexual-people\" target=\"_blank\" rel=\"noopener noreferrer\">higher depression rates, higher drug rates\u003c/a>? The invisibility is still a factor,” she says. “The fact that we can still be told make a choice—I still hear that from people. There’s a way in which bisexuals are still dismissed, whether it’s right in your face or it’s [treated as] not as important.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She adds, “We are still fighting for visibility.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Berkeley Art Museum and Pacific Film Archive (BAMPFA) announced on Thursday \u003ca href=\"https://bampfa.org/news/julie-rodrigues-widholm-appointed-lead-bampfa\" rel=\"noopener noreferrer\" target=\"_blank\">the appointment\u003c/a> of a new director: Julie Rodrigues Widholm, the current director and chief curator of the DePaul Art Museum (DPAM) in Chicago.\u003c/p>\n\u003cp>Widholm comes into Berkeley with high marks. During her five years at DPAM, the museum experienced a 40% increase in attendance and a tripling of its annual budget. She also oversaw the addition of 500 artworks to the museum’s collection “with a particular emphasis on work by underrecognized artists from marginalized groups,” according to BAMPFA’s press release.\u003c/p>\n\u003cp>Widholm succeeds BAMPFA’s \u003ca href=\"https://www.kqed.org/arts/13866997/lawrence-rinder-bampfa-director-and-chief-curator-to-step-down\" rel=\"noopener noreferrer\" target=\"_blank\">exiting director Lawrence Rinder\u003c/a>, whose history with the museum stretches back to the 1980s and whose role as director began in 2008. [aside postID='arts_13866997']\u003c/p>\n\u003cp>Rinder was widely acknowledged to have left the museum in good standing, after overseeing a major move from the institution’s former home—a 101,000-square-foot brutalist concrete shell on Bancroft Way—to a new building on Center Street. Rinder, whose acquisition program added over 6,000 works to the museum’s collection, also reportedly secured a “significant gift from an anonymous donor” before his departure. \u003c/p>\n\u003cp>The museum, currently closed due to the COVID-19 pandemic, cites Widholm’s “emphasis on diversity and inclusion” as a contributing factor in her hiring, pointing to DPAM’s curatorial program and its emphasis on work by artists of color, women and LGBTQ artists. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I am incredibly honored to join BAMPFA at this critical juncture to work collaboratively with staff, colleagues, faculty, students, and other stakeholders in the community to think deeply about what it means to be an inclusive academic art museum in the 21st century,” Widholm said in a statement. “I have long admired BAMPFA’s program, including the MATRIX program’s longstanding role in bringing emerging and underrecognized contemporary artists to the fore.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Windholm will start at BAMPFA on Aug. 1.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Berkeley Art Museum and Pacific Film Archive (BAMPFA) announced on Thursday \u003ca href=\"https://bampfa.org/news/julie-rodrigues-widholm-appointed-lead-bampfa\" rel=\"noopener noreferrer\" target=\"_blank\">the appointment\u003c/a> of a new director: Julie Rodrigues Widholm, the current director and chief curator of the DePaul Art Museum (DPAM) in Chicago.\u003c/p>\n\u003cp>Widholm comes into Berkeley with high marks. During her five years at DPAM, the museum experienced a 40% increase in attendance and a tripling of its annual budget. She also oversaw the addition of 500 artworks to the museum’s collection “with a particular emphasis on work by underrecognized artists from marginalized groups,” according to BAMPFA’s press release.\u003c/p>\n\u003cp>Widholm succeeds BAMPFA’s \u003ca href=\"https://www.kqed.org/arts/13866997/lawrence-rinder-bampfa-director-and-chief-curator-to-step-down\" rel=\"noopener noreferrer\" target=\"_blank\">exiting director Lawrence Rinder\u003c/a>, whose history with the museum stretches back to the 1980s and whose role as director began in 2008. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Rinder was widely acknowledged to have left the museum in good standing, after overseeing a major move from the institution’s former home—a 101,000-square-foot brutalist concrete shell on Bancroft Way—to a new building on Center Street. Rinder, whose acquisition program added over 6,000 works to the museum’s collection, also reportedly secured a “significant gift from an anonymous donor” before his departure. \u003c/p>\n\u003cp>The museum, currently closed due to the COVID-19 pandemic, cites Widholm’s “emphasis on diversity and inclusion” as a contributing factor in her hiring, pointing to DPAM’s curatorial program and its emphasis on work by artists of color, women and LGBTQ artists. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I am incredibly honored to join BAMPFA at this critical juncture to work collaboratively with staff, colleagues, faculty, students, and other stakeholders in the community to think deeply about what it means to be an inclusive academic art museum in the 21st century,” Widholm said in a statement. “I have long admired BAMPFA’s program, including the MATRIX program’s longstanding role in bringing emerging and underrecognized contemporary artists to the fore.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Windholm will start at BAMPFA on Aug. 1.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "3 Ways Asian Americans Can Fight Anti-Black Racism",
"headTitle": "3 Ways Asian Americans Can Fight Anti-Black Racism | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Over four weeks since a police officer killed George Floyd on video in Minneapolis, a nationwide reckoning with anti-Black racism is showing no signs of slowing. In the streets, protestors have participated in demonstrations of all sizes, including \u003ca href=\"https://www.kqed.org/news/11822771/bay-area-george-floyd-protests-police-violence-curfew-orders\" target=\"_blank\" rel=\"noopener noreferrer\">a student-led march\u003c/a> of over 10,000 in San Francisco and 15,000 people \u003c/span>\u003ca href=\"https://www.thecut.com/2020/06/fifteen-thousand-marched-in-brooklyn-for-black-trans-lives.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">marching for Black trans lives\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in New York. Online, people have created and shared innumerable resources on anti-racist action and how to break down anti-Blackness in non-Black communities.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This conversation has been especially prevalent in the Asian American and Pacific Islander community—for whom (now fired) police officer Tou Thao’s role in Floyd’s death exposed the deep-rooted ways Asians and Pacific Islanders have benefited from and contributed to systemic racism in America. For much of the last month, there’s been an uncharacteristic immediacy in the AAPI community to share content around \u003c/span>\u003ca href=\"https://www.instagram.com/p/CBg1jYvjnT9/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">dismantling the “model minority myth”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and talks of returning to the Asian-Black solidarity of the 1960s. But in reality, these calls to action only scratch the surface of the long history of Asian identity in America. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To truly create sustained, long-term change for Black, Indigenous, People of Color (BIPOC) in America, we as Asian Americans must go deeper: We must understand our own racial positioning in this country and deconstruct our desire to assimilate into whiteness. We must keep having conversations with family members who lack awareness or carry racist ideals. And, finally, we must recognize that we are all on our own unique journey to solidarity—and that we must work together to create the change we all want to see.\u003c/span>\u003c/p>\n\u003ch2>Do Research Beyond Social Media\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Social media can be an extremely useful starting point for learning about social issues. But a lot of these one-and-done posts, like ones with the slogan “Yellow Peril Supports Black Power,” make blanket statements that ignore the nuances that make the AAPI experience so difficult to unpack. While many people—myself included—first looked to the phrase as a symbol of Black and Asian solidarity, more information came to light about the slogan’s complicated history. In the ’60s, “Yellow Peril Supports Black Power” had two primary purposes: Reclaiming “yellow peril” as a derogatory phrase against Chinese laborers in the 1800s, and showing support for the Black community.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13880454\" class=\"wp-caption alignright\" style=\"max-width: 582px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880454\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/yellow_peril.jpg\" alt=\"Asian American demonstrators rally for Black Panther Party co-founder Huey P. Newton's release from prison in 1969.\" width=\"582\" height=\"717\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/yellow_peril.jpg 582w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/yellow_peril-160x197.jpg 160w\" sizes=\"(max-width: 582px) 100vw, 582px\">\u003cfigcaption class=\"wp-caption-text\">Asian American demonstrators rally for Black Panther Party co-founder Huey P. Newton’s release from prison in 1969. \u003ccite>(Courtesy of Roz Payne's Newsreel archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">But using the term today becomes more complicated after learning that Richard Aoki—one of the people who popularized the phrase at a rally for Huey Newton, and the only Asian American to hold a leadership role in the Black Panther Party—was revealed to be an FBI informant in 2012. Many activists today also take issue with the term, pointing out that the term “yellow peril”\u003c/span>\u003ca href=\"https://www.nbcnews.com/news/asian-america/history-behind-yellow-peril-supports-black-power-why-some-find-n1228776\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\"> reduces the Asian American experience exclusively to East Asians \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">while mistakenly equating Black and Asian struggles.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The “model minority myth” circulated by white journalists and politicians in the ’60s—which characterizes Asian Americans as a monolithic, law-abiding group that achieved success in America because of their cultural values—is another example of a flawed narrative to unpack. At a high level, we as a community understand how the “model minority myth” hurts us: It reduces the cultural and socioeconomic diversity of Asian and Pacific Islander subgroups to one and divides us from other minorities, like Black and Latinx groups. But deeper interrogation of the myth’s history shows just how deeply its stereotypes and principles have influenced the AAPI community today. \u003c/span>\u003cbr>\n[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the mid-1800s, after the Western states were required to enter the Union as free “non-slave” states, white elites desired a cheap and plentiful labor source. In order to position poor Chinese immigrants as these ideal laborers, white elites overtly constructed an image of Asian identity in America from 1850-1965 that deemed Asians “superior” to Black people and “inferior” to whites. But perhaps most importantly, as Claire J. Kim describes in “\u003ca href=\"https://journals.sagepub.com/doi/10.1177/0032329299027001005\" target=\"_blank\" rel=\"noopener noreferrer\">The Racial Triangulation of Asian Americans\u003c/a>,” newspapers like the San Francisco \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Daily Alta\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and sociologists like \u003c/span>\u003ca href=\"https://www.amazon.com/Mississippi-Chinese-Between-Black-Second/dp/0881333123\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">James Loewen\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> alike stressed how great and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">apolitical\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> Asians were due to their lack of ability to vote. [aside postid='arts_13880441']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Throughout that century, white lawmakers \u003c/span>\u003ca href=\"http://sites.middlebury.edu/gsfswhitepeople/files/2016/09/alcoff.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">oscillated between qualifying Asians as “Black” or “non-Black”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in order to exert power over both groups. And all the while, white elites specifically created stereotypes around Asians as being successful \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">because\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> of their lack of political interest and apathy around social justice—a direct juxtaposition to Black communities fighting for civil rights.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For me, Kim’s analysis concretely shows how Asian communities have been routinely pitted against Black communities. It gives context to the behavior of Asians Americans—such as their unwillingness to speak up in terms of social justice—and helps us understand both the privilege we as AAPI folks have due to our proximity to whiteness as well as the ways we have been disenfranchised.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This kind of understanding is crucial to breaking down why we as Asian Americans have appealed to whiteness for so long. Analyzing these historical moments allows us to reject the racial position whites have defined for us and stand in a place of solidarity with other communities of color in the fight for liberation.\u003c/span>\u003c/p>\n\u003ch2>Engage with Your Peers, Family and Community\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sharing our knowledge of systemic racism—and its impact on Asian Americans—with those in our communities is absolutely vital to making meaningful change. While discourse on social media can be cathartic, it also often feels like an echo chamber. Taking the time to speak to those who don’t share your views can instead inspire growth in both parties.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Most young AAPI folks run into issues when speaking to our families: language barriers, sensational mainstream media, and lack of awareness around race dynamics in America often turn these conversations into moments of \u003c/span>\u003ca href=\"https://twitter.com/quvnxn/status/1267208672502923265\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">conflict and frustration\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003ca href=\"https://docs.google.com/document/d/1_7sAwRnQeEBpJY26h1tlwoIcib54jqNYfNDCps5_dSY/mobilebasic\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Numerous translations\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> have been created to help folks overcome language barriers around the Black Lives Matter movement. Some AAPI folks have found success in framing the systemic racism Black communities face through \u003c/span>\u003ca href=\"https://timetosaygoodbyepod.substack.com/p/about-those-letters-to-my-asian-parents\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">historical, international lens\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Others \u003c/span>\u003ca href=\"https://www.kqed.org/news/11825466/this-is-a-fight-for-everyone-asian-parents-and-black-lives-matter\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">draw parallels between discrimination against Asians\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> to build understanding. I worked with a friend to \u003c/span>\u003ca href=\"https://docs.google.com/document/d/1QRX5WJbnUp-zAogsVnm-UGZkBRGB4xbFmVV3JoIsQ4I/edit?usp=sharing\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">create a guide\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> to help anticipate common rebuttals Asian immigrant families give in these discussions. [aside postid='arts_13881942']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Older Asian generations aren’t the only ones we should be engaging in conversation around anti-Blackness, too: Benjamin Hung, a 28-year-old graduate of a high school I attended freshman year, was arrested after witnesses identified him as the person who hit \u003c/span>\u003ca href=\"https://www.pasadenastarnews.com/2020/05/31/driver-seen-speeding-away-from-demonstration-with-protester-on-hood-in-pasadena-arrested/\">\u003cspan style=\"font-weight: 400\">a protester with his car in May\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. I’m not sure if speaking to Hung one time would have changed what happened, but I do think that continued conversations over the years would have helped.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ultimately, understanding creates change. And if enough people in our community understand how white supremacy has hurt us all, the more difference we as Asian Americans will make.\u003c/span>\u003c/p>\n\u003ch2>Show Up In Your Actions\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Dismantling structures that have been around for centuries takes time—but that doesn’t mean there aren’t small actions you can do every single day: \u003c/span>\u003ca href=\"https://blacklivesmatters.carrd.co/#donate\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Donate\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> to mutual aid funds, Black individuals, and organizations dedicated to the long-term advancement of BIPOC. Buy from \u003c/span>\u003ca href=\"https://www.beyonce.com/black-parade-route/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Black-owned businesses\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Share educational resources. Attend protests. Read Angela Davis, Audre Lorde and other Black revolutionary authors. Learn about the history of \u003c/span>\u003ca href=\"https://www.blackwomenradicals.com/blog-feed/black-and-asian-feminist-solidarities-a-reading-list\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">feminist solidarity between Black and Asian communities\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Call out microaggressions every time they happen. Push for more Black leadership in your workplace. Use your privilege and your voice to consistently advocate for Black lives.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s also the inner, arguably more difficult work that comes with showing up too—being open to critique. Listening. Dismantling the \u003c/span>\u003ca href=\"https://twitter.com/noname/status/1275067838403772416\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">white supremacist in our heads\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Finding ways to educate in a constructive manner, without tearing others down or making them feel guilty. Lately, I’ve been seeing a lot of discourse around performative allyship that \u003c/span>\u003ca href=\"https://www.instagram.com/p/CBgudAgDD4E/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">criticizes Asian Americans\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> for a lot of the AAPI work circulating on social media. These critiques make some valid points, such as how we should de-center Asian voices, stop virtue signaling and move past guilt to act from a place of true solidarity. But at the end of the day, we’re all at different levels of awareness. [aside postid='arts_13881399']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We’re all at different points on the journey to gain the understanding we need to dismantle white supremacy. As long as we keep learning, showing support and trying to create change, that’s what matters.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Part of the work is realizing that, and understanding that this is a pivotal moment for us as Asian Americans to come together and expose this system for what it is—so that we can finally break it down for good.\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "We must understand our own racial positioning in this country and deconstruct our desire to assimilate into whiteness.",
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"title": "3 Ways Asian Americans Can Fight Anti-Black Racism | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Over four weeks since a police officer killed George Floyd on video in Minneapolis, a nationwide reckoning with anti-Black racism is showing no signs of slowing. In the streets, protestors have participated in demonstrations of all sizes, including \u003ca href=\"https://www.kqed.org/news/11822771/bay-area-george-floyd-protests-police-violence-curfew-orders\" target=\"_blank\" rel=\"noopener noreferrer\">a student-led march\u003c/a> of over 10,000 in San Francisco and 15,000 people \u003c/span>\u003ca href=\"https://www.thecut.com/2020/06/fifteen-thousand-marched-in-brooklyn-for-black-trans-lives.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">marching for Black trans lives\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in New York. Online, people have created and shared innumerable resources on anti-racist action and how to break down anti-Blackness in non-Black communities.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This conversation has been especially prevalent in the Asian American and Pacific Islander community—for whom (now fired) police officer Tou Thao’s role in Floyd’s death exposed the deep-rooted ways Asians and Pacific Islanders have benefited from and contributed to systemic racism in America. For much of the last month, there’s been an uncharacteristic immediacy in the AAPI community to share content around \u003c/span>\u003ca href=\"https://www.instagram.com/p/CBg1jYvjnT9/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">dismantling the “model minority myth”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and talks of returning to the Asian-Black solidarity of the 1960s. But in reality, these calls to action only scratch the surface of the long history of Asian identity in America. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To truly create sustained, long-term change for Black, Indigenous, People of Color (BIPOC) in America, we as Asian Americans must go deeper: We must understand our own racial positioning in this country and deconstruct our desire to assimilate into whiteness. We must keep having conversations with family members who lack awareness or carry racist ideals. And, finally, we must recognize that we are all on our own unique journey to solidarity—and that we must work together to create the change we all want to see.\u003c/span>\u003c/p>\n\u003ch2>Do Research Beyond Social Media\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Social media can be an extremely useful starting point for learning about social issues. But a lot of these one-and-done posts, like ones with the slogan “Yellow Peril Supports Black Power,” make blanket statements that ignore the nuances that make the AAPI experience so difficult to unpack. While many people—myself included—first looked to the phrase as a symbol of Black and Asian solidarity, more information came to light about the slogan’s complicated history. In the ’60s, “Yellow Peril Supports Black Power” had two primary purposes: Reclaiming “yellow peril” as a derogatory phrase against Chinese laborers in the 1800s, and showing support for the Black community.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13880454\" class=\"wp-caption alignright\" style=\"max-width: 582px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880454\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/yellow_peril.jpg\" alt=\"Asian American demonstrators rally for Black Panther Party co-founder Huey P. Newton's release from prison in 1969.\" width=\"582\" height=\"717\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/yellow_peril.jpg 582w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/yellow_peril-160x197.jpg 160w\" sizes=\"(max-width: 582px) 100vw, 582px\">\u003cfigcaption class=\"wp-caption-text\">Asian American demonstrators rally for Black Panther Party co-founder Huey P. Newton’s release from prison in 1969. \u003ccite>(Courtesy of Roz Payne's Newsreel archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">But using the term today becomes more complicated after learning that Richard Aoki—one of the people who popularized the phrase at a rally for Huey Newton, and the only Asian American to hold a leadership role in the Black Panther Party—was revealed to be an FBI informant in 2012. Many activists today also take issue with the term, pointing out that the term “yellow peril”\u003c/span>\u003ca href=\"https://www.nbcnews.com/news/asian-america/history-behind-yellow-peril-supports-black-power-why-some-find-n1228776\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\"> reduces the Asian American experience exclusively to East Asians \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">while mistakenly equating Black and Asian struggles.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The “model minority myth” circulated by white journalists and politicians in the ’60s—which characterizes Asian Americans as a monolithic, law-abiding group that achieved success in America because of their cultural values—is another example of a flawed narrative to unpack. At a high level, we as a community understand how the “model minority myth” hurts us: It reduces the cultural and socioeconomic diversity of Asian and Pacific Islander subgroups to one and divides us from other minorities, like Black and Latinx groups. But deeper interrogation of the myth’s history shows just how deeply its stereotypes and principles have influenced the AAPI community today. \u003c/span>\u003cbr>\n\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the mid-1800s, after the Western states were required to enter the Union as free “non-slave” states, white elites desired a cheap and plentiful labor source. In order to position poor Chinese immigrants as these ideal laborers, white elites overtly constructed an image of Asian identity in America from 1850-1965 that deemed Asians “superior” to Black people and “inferior” to whites. But perhaps most importantly, as Claire J. Kim describes in “\u003ca href=\"https://journals.sagepub.com/doi/10.1177/0032329299027001005\" target=\"_blank\" rel=\"noopener noreferrer\">The Racial Triangulation of Asian Americans\u003c/a>,” newspapers like the San Francisco \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Daily Alta\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and sociologists like \u003c/span>\u003ca href=\"https://www.amazon.com/Mississippi-Chinese-Between-Black-Second/dp/0881333123\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">James Loewen\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> alike stressed how great and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">apolitical\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> Asians were due to their lack of ability to vote. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Throughout that century, white lawmakers \u003c/span>\u003ca href=\"http://sites.middlebury.edu/gsfswhitepeople/files/2016/09/alcoff.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">oscillated between qualifying Asians as “Black” or “non-Black”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in order to exert power over both groups. And all the while, white elites specifically created stereotypes around Asians as being successful \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">because\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> of their lack of political interest and apathy around social justice—a direct juxtaposition to Black communities fighting for civil rights.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For me, Kim’s analysis concretely shows how Asian communities have been routinely pitted against Black communities. It gives context to the behavior of Asians Americans—such as their unwillingness to speak up in terms of social justice—and helps us understand both the privilege we as AAPI folks have due to our proximity to whiteness as well as the ways we have been disenfranchised.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This kind of understanding is crucial to breaking down why we as Asian Americans have appealed to whiteness for so long. Analyzing these historical moments allows us to reject the racial position whites have defined for us and stand in a place of solidarity with other communities of color in the fight for liberation.\u003c/span>\u003c/p>\n\u003ch2>Engage with Your Peers, Family and Community\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sharing our knowledge of systemic racism—and its impact on Asian Americans—with those in our communities is absolutely vital to making meaningful change. While discourse on social media can be cathartic, it also often feels like an echo chamber. Taking the time to speak to those who don’t share your views can instead inspire growth in both parties.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Most young AAPI folks run into issues when speaking to our families: language barriers, sensational mainstream media, and lack of awareness around race dynamics in America often turn these conversations into moments of \u003c/span>\u003ca href=\"https://twitter.com/quvnxn/status/1267208672502923265\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">conflict and frustration\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003ca href=\"https://docs.google.com/document/d/1_7sAwRnQeEBpJY26h1tlwoIcib54jqNYfNDCps5_dSY/mobilebasic\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Numerous translations\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> have been created to help folks overcome language barriers around the Black Lives Matter movement. Some AAPI folks have found success in framing the systemic racism Black communities face through \u003c/span>\u003ca href=\"https://timetosaygoodbyepod.substack.com/p/about-those-letters-to-my-asian-parents\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">historical, international lens\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Others \u003c/span>\u003ca href=\"https://www.kqed.org/news/11825466/this-is-a-fight-for-everyone-asian-parents-and-black-lives-matter\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">draw parallels between discrimination against Asians\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> to build understanding. I worked with a friend to \u003c/span>\u003ca href=\"https://docs.google.com/document/d/1QRX5WJbnUp-zAogsVnm-UGZkBRGB4xbFmVV3JoIsQ4I/edit?usp=sharing\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">create a guide\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> to help anticipate common rebuttals Asian immigrant families give in these discussions. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Older Asian generations aren’t the only ones we should be engaging in conversation around anti-Blackness, too: Benjamin Hung, a 28-year-old graduate of a high school I attended freshman year, was arrested after witnesses identified him as the person who hit \u003c/span>\u003ca href=\"https://www.pasadenastarnews.com/2020/05/31/driver-seen-speeding-away-from-demonstration-with-protester-on-hood-in-pasadena-arrested/\">\u003cspan style=\"font-weight: 400\">a protester with his car in May\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. I’m not sure if speaking to Hung one time would have changed what happened, but I do think that continued conversations over the years would have helped.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ultimately, understanding creates change. And if enough people in our community understand how white supremacy has hurt us all, the more difference we as Asian Americans will make.\u003c/span>\u003c/p>\n\u003ch2>Show Up In Your Actions\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Dismantling structures that have been around for centuries takes time—but that doesn’t mean there aren’t small actions you can do every single day: \u003c/span>\u003ca href=\"https://blacklivesmatters.carrd.co/#donate\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Donate\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> to mutual aid funds, Black individuals, and organizations dedicated to the long-term advancement of BIPOC. Buy from \u003c/span>\u003ca href=\"https://www.beyonce.com/black-parade-route/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Black-owned businesses\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Share educational resources. Attend protests. Read Angela Davis, Audre Lorde and other Black revolutionary authors. Learn about the history of \u003c/span>\u003ca href=\"https://www.blackwomenradicals.com/blog-feed/black-and-asian-feminist-solidarities-a-reading-list\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">feminist solidarity between Black and Asian communities\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Call out microaggressions every time they happen. Push for more Black leadership in your workplace. Use your privilege and your voice to consistently advocate for Black lives.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s also the inner, arguably more difficult work that comes with showing up too—being open to critique. Listening. Dismantling the \u003c/span>\u003ca href=\"https://twitter.com/noname/status/1275067838403772416\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">white supremacist in our heads\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Finding ways to educate in a constructive manner, without tearing others down or making them feel guilty. Lately, I’ve been seeing a lot of discourse around performative allyship that \u003c/span>\u003ca href=\"https://www.instagram.com/p/CBgudAgDD4E/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">criticizes Asian Americans\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> for a lot of the AAPI work circulating on social media. These critiques make some valid points, such as how we should de-center Asian voices, stop virtue signaling and move past guilt to act from a place of true solidarity. But at the end of the day, we’re all at different levels of awareness. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We’re all at different points on the journey to gain the understanding we need to dismantle white supremacy. As long as we keep learning, showing support and trying to create change, that’s what matters.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Part of the work is realizing that, and understanding that this is a pivotal moment for us as Asian Americans to come together and expose this system for what it is—so that we can finally break it down for good.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Sometimes the energy of a movement looks like the \u003ca href=\"https://twitter.com/LinaBlanco/status/1274059418770927616\" rel=\"noopener noreferrer\" target=\"_blank\">mass mobilization of people marching towards a common goal\u003c/a>, and sometimes it’s hundreds of square feet of painted plywood.\u003c/p>\n\u003cp>In May, as protests in response to the killing of George Floyd by Minneapolis police officer Derek Chauvin began in downtown Oakland, businesses covered their storefronts with plywood, inadvertently creating surfaces primed for messages of liberation and solidarity. In the days that followed, artists and volunteers lined the sidewalks with buckets and spray cans of paint, putting up Cornel West quotes, Black Power imagery and, over and over again, the names of those killed by police.\u003c/p>\n\u003cp>Almost as soon as these large-scale murals went up, people \u003ca href=\"https://twitter.com/is_a_lau/status/1270374072166178817\" rel=\"noopener noreferrer\" target=\"_blank\">began asking\u003c/a> how the ephemeral pieces of public art could be preserved.\u003c/p>\n\u003cp>https://twitter.com/OGpenn/status/1270021040312221696\u003c/p>\n\u003cp>“The consensus is that this is an important time,” says Randolph Belle, spokesperson for the \u003ca href=\"https://www.blackculturalzone.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Black Cultural Zone\u003c/a>, a coalition of Black residents, leaders and organizers working to keep Black culture and people in East Oakland. “The movement is what we’re most concerned with. But the artwork is obviously a result of the protests, and the protests are a result of the historical injustices.”\u003c/p>\n\u003cp>The Black Cultural Zone, \u003ca href=\"https://bettiono.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Betti Ono Gallery\u003c/a>, and other Black-led arts organizations, with support from ally organizations like the Oakland Museum and Oakland Art Murmur, are now attempting to bring some order to the preservation of murals that emerged spontaneously and without centralized coordination. The Black Cultural Zone has launched an \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLScwvM8ZV7Ln2CwiPtCyywTaPzE0xwTw2jXDB9947Z1rbLj1lw/viewform\" target=\"_blank\" rel=\"noopener noreferrer\">online form\u003c/a> to help identify artists and artworks, which business owners or landlords can use to let the group know if they’re planning to remove a mural.\u003c/p>\n\u003cp>(Endeavors, a project affiliated with Oakland’s Good Mother Gallery, has simultaneously created \u003ca href=\"https://www.endeavors-oakland.com/home-copy\" target=\"_blank\" rel=\"noopener noreferrer\">an online gallery\u003c/a> of mural documentation, also hosts a form which promises to notify artists when their boards are removed.)\u003c/p>\n\u003cfigure id=\"attachment_13881569\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881569\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM.jpg\" alt=\"\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-1020x765.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, certain questions linger: Should pieces go back to the artists, stay with the businesses, go into archival storage, or remain on view at another public location?\u003c/p>\n\u003cp>Oakland Museum of California Director Lori Fogarty underscores Belle’s point about focusing on the movement, first and foremost, over the murals. Though the institution was on \u003ca href=\"https://twitter.com/Bethpikegirl/status/1270023479228686342\" target=\"_blank\" rel=\"noopener noreferrer\">many minds\u003c/a> as a \u003ca href=\"https://twitter.com/OKcouncil/status/1270033041319026688\" target=\"_blank\" rel=\"noopener noreferrer\">possible home\u003c/a> for the murals, Fogarty says the museum isn’t yet looking to accession artwork or schedule an exhibition. Instead, OMCA is providing logistical support to the preservation efforts.\u003c/p>\n\u003cp>“Black-led organizations and artists need to be at the forefront,” Fogarty says. “It is a paradigm shift we need to acknowledge and honor at every step.”\u003c/p>\n\u003cp>Curator and arts organizer \u003ca href=\"https://artistasfirstrespondercom.godaddysites.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Ashara Ekundayo\u003c/a> watched the murals go up, visiting the downtown gallery every day. She says early on her conversations with artists raised red flags about the challenges of documenting and preserving the murals. “What alarmed me was that very few of the artists had thought about the importance and value of their work, and what could happen to it without them knowing and being credited or compensated,” she says. \u003c/p>\n\u003cp>She also noticed racial and cultural dynamics playing out in the murals: white artists were being commissioned to write “Black Lives Matter” on boarded-up storefronts and Black artists were not being paid for their work. Not acknowledging the artwork as valuable, particularly the work of Black artists, Ekundayo says, “will continue to perpetuate this idea that artists will make art for free and that we can disrespect them.”\u003c/p>\n\u003cp>https://www.instagram.com/p/CBygQVZhC1v/\u003c/p>\n\u003cp>“From the Black Cultural Zone specifically, we really wanted to be documenters of the documentation,” Belle says. “We don’t want to own a movement, but it is important that a Black voice holds this conversation. As people are saying that this feels different, we’ve got to make sure it \u003ci>is\u003c/i> different.”\u003c/p>\n\u003cp>[aside postID='arts_13881529']In this vein, Betti Ono Gallery is hosting a conversation on Thursday, June 25, for Black artists and community members to collectively decide how to honor, preserve and protect the art. Possible outcomes Belle lists off include reinstallation of the murals in a lot in East Oakland, a spot the Black Cultural Zone currently uses as a distribution point for hot meals, produce and other supplies. Or, he says, “Some of the panels could be used to build something semi-permanent.” An in-depth immersive exhibition incorporating video footage of the murals, or something similar, could take place several years down the road.\u003c/p>\n\u003cp>“We have no interest in nor would we support privatizing this art other than in the hands of the artists and support of our Black community,” the Black Cultural Zone writes in the description for Thursday’s event.\u003c/p>\n\u003cp>But as discussions about how to collect and preserve the murals continue, many of the artworks are already coming down—and only some of their destinations are known.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13868732/cece-carpio\" target=\"_blank\" rel=\"noopener noreferrer\">Cece Carpio\u003c/a> and the \u003ca href=\"http://www.trustyourstruggle.com/a/\" target=\"_blank\" rel=\"noopener noreferrer\">Trust Your Struggle Collective\u003c/a> painted three murals in downtown Oakland. “We just went forward and protested the way we knew how, which is to paint up the streets,” she says. They weren’t thinking, at the time, about the future of their work.\u003c/p>\n\u003cp>https://www.instagram.com/p/CBCYs9fhTF0/\u003c/p>\n\u003cp>One of those murals—featuring five raised hands and fists and the text “We Got Us” over the boarded-up doors of a Chase bank—became the backdrop for an altar to those killed by police violence. When workers later arrived with the task of removing the plywood to create an entrance to the building, they refused to dismantle the altar.\u003c/p>\n\u003cp>“They saw our crew name and made the call to make sure this is preserved,” Carpio says. “It was very lucky and fortunate that it was within the community of folks.” Carpio was able to call her friends to move the altar, and the workers delivered the plywood boards directly to her own Oakland backyard.\u003c/p>\n\u003cp>Other muralists say they too thought only passingly about the future of their murals as they worked to get them up. Estella Tse and Sofia Sharpe, who both grew up in Oakland, painted a mural in honor of Breonna Taylor on June 5—what would have been her 27th birthday.\u003c/p>\n\u003cp>“Her name was kind of getting swept in between larger events happening around her, and she wasn’t getting a lot of the recognition for the justice she deserved,” Sharpe says of the impulse behind their painting. Only one of the three officers who shot Taylor has been fired; the other two have been placed on administrative reassignment, and none have been charged.\u003c/p>\n\u003cfigure id=\"attachment_13881568\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881568\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM.jpg\" alt=\"\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-1020x765.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The mural in honor of Breonna Taylor’s 27th birthday, painted by Sofia Sharpe and Estella Tse. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sharpe echoes the Black Cultural Zone’s desire to place the murals within the context of the movement for racial justice. “It’s not just about murals, but about everything that is happening and has led up to it and where it’s going from there,” Sharpe says.\u003c/p>\n\u003cp>Objects can tell powerful stories, which is why conversations about how to preserve and honor items related to the Black Lives Matter movement and the latest uprisings are happening at both the grassroots community level and in national organizations. Coalition building and the centering of Black voices is key: The National Museum of African American History and Culture, the National Museum of American History and the Anacostia Community Museum \u003ca href=\"https://nmaahc.si.edu/about/news/statement-efforts-collect-objects-lafayette-square\" rel=\"noopener noreferrer\" target=\"_blank\">recently announced\u003c/a> a collective effort to document and preserve “expressions of protest and hope” from Lafayette Square in Washington, D.C. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“You never know what stories artifacts and objects will tell,” Fogarty says, pointing to architectural fragments exhibited in OMCA’s \u003ci>\u003ca href=\"https://museumca.org/exhibit/all-power-people-black-panthers-50\" rel=\"noopener noreferrer\" target=\"_blank\">All Power to the People: Black Panthers at 50\u003c/a>\u003c/i>, testaments to the physical destruction of the Black community. While it’s difficult to know exactly which objects will speak most loudly a half century from now, the mistakes of the past can be illuminating. “We’re very mindful of what the museum was not collecting in 1968,” Fogarty says.\u003c/p>\n\u003cp>For Tse and Sharpe, whether or not their own work is preserved is less important to them than the messages the murals contain, and how the desire to document those messages illustrates art’s place in social movements.\u003c/p>\n\u003cp>“We can see from this how art heals, there is an impact, there is a purpose for art,” Tse says. Citing the difficult and long process of going through official channels to create public art, she adds, “I just hope there’s more opportunities for artists to make art like this in very challenging times.”\u003c/p>\n\u003cp>Carpio agrees: “I feel like this is one way to mark this moment and is also another way of really showing that what artists can contribute to a movement, and how we can envision a different future than what we normally have lived, prior to the pandemic and prior to the uprising.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“The consensus is that this is an important time,” says Randolph Belle, spokesperson for the \u003ca href=\"https://www.blackculturalzone.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Black Cultural Zone\u003c/a>, a coalition of Black residents, leaders and organizers working to keep Black culture and people in East Oakland. “The movement is what we’re most concerned with. But the artwork is obviously a result of the protests, and the protests are a result of the historical injustices.”\u003c/p>\n\u003cp>The Black Cultural Zone, \u003ca href=\"https://bettiono.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Betti Ono Gallery\u003c/a>, and other Black-led arts organizations, with support from ally organizations like the Oakland Museum and Oakland Art Murmur, are now attempting to bring some order to the preservation of murals that emerged spontaneously and without centralized coordination. The Black Cultural Zone has launched an \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLScwvM8ZV7Ln2CwiPtCyywTaPzE0xwTw2jXDB9947Z1rbLj1lw/viewform\" target=\"_blank\" rel=\"noopener noreferrer\">online form\u003c/a> to help identify artists and artworks, which business owners or landlords can use to let the group know if they’re planning to remove a mural.\u003c/p>\n\u003cp>(Endeavors, a project affiliated with Oakland’s Good Mother Gallery, has simultaneously created \u003ca href=\"https://www.endeavors-oakland.com/home-copy\" target=\"_blank\" rel=\"noopener noreferrer\">an online gallery\u003c/a> of mural documentation, also hosts a form which promises to notify artists when their boards are removed.)\u003c/p>\n\u003cfigure id=\"attachment_13881569\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881569\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM.jpg\" alt=\"\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-1020x765.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, certain questions linger: Should pieces go back to the artists, stay with the businesses, go into archival storage, or remain on view at another public location?\u003c/p>\n\u003cp>Oakland Museum of California Director Lori Fogarty underscores Belle’s point about focusing on the movement, first and foremost, over the murals. Though the institution was on \u003ca href=\"https://twitter.com/Bethpikegirl/status/1270023479228686342\" target=\"_blank\" rel=\"noopener noreferrer\">many minds\u003c/a> as a \u003ca href=\"https://twitter.com/OKcouncil/status/1270033041319026688\" target=\"_blank\" rel=\"noopener noreferrer\">possible home\u003c/a> for the murals, Fogarty says the museum isn’t yet looking to accession artwork or schedule an exhibition. Instead, OMCA is providing logistical support to the preservation efforts.\u003c/p>\n\u003cp>“Black-led organizations and artists need to be at the forefront,” Fogarty says. “It is a paradigm shift we need to acknowledge and honor at every step.”\u003c/p>\n\u003cp>Curator and arts organizer \u003ca href=\"https://artistasfirstrespondercom.godaddysites.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Ashara Ekundayo\u003c/a> watched the murals go up, visiting the downtown gallery every day. She says early on her conversations with artists raised red flags about the challenges of documenting and preserving the murals. “What alarmed me was that very few of the artists had thought about the importance and value of their work, and what could happen to it without them knowing and being credited or compensated,” she says. \u003c/p>\n\u003cp>She also noticed racial and cultural dynamics playing out in the murals: white artists were being commissioned to write “Black Lives Matter” on boarded-up storefronts and Black artists were not being paid for their work. Not acknowledging the artwork as valuable, particularly the work of Black artists, Ekundayo says, “will continue to perpetuate this idea that artists will make art for free and that we can disrespect them.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“From the Black Cultural Zone specifically, we really wanted to be documenters of the documentation,” Belle says. “We don’t want to own a movement, but it is important that a Black voice holds this conversation. As people are saying that this feels different, we’ve got to make sure it \u003ci>is\u003c/i> different.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In this vein, Betti Ono Gallery is hosting a conversation on Thursday, June 25, for Black artists and community members to collectively decide how to honor, preserve and protect the art. Possible outcomes Belle lists off include reinstallation of the murals in a lot in East Oakland, a spot the Black Cultural Zone currently uses as a distribution point for hot meals, produce and other supplies. Or, he says, “Some of the panels could be used to build something semi-permanent.” An in-depth immersive exhibition incorporating video footage of the murals, or something similar, could take place several years down the road.\u003c/p>\n\u003cp>“We have no interest in nor would we support privatizing this art other than in the hands of the artists and support of our Black community,” the Black Cultural Zone writes in the description for Thursday’s event.\u003c/p>\n\u003cp>But as discussions about how to collect and preserve the murals continue, many of the artworks are already coming down—and only some of their destinations are known.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13868732/cece-carpio\" target=\"_blank\" rel=\"noopener noreferrer\">Cece Carpio\u003c/a> and the \u003ca href=\"http://www.trustyourstruggle.com/a/\" target=\"_blank\" rel=\"noopener noreferrer\">Trust Your Struggle Collective\u003c/a> painted three murals in downtown Oakland. “We just went forward and protested the way we knew how, which is to paint up the streets,” she says. They weren’t thinking, at the time, about the future of their work.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of those murals—featuring five raised hands and fists and the text “We Got Us” over the boarded-up doors of a Chase bank—became the backdrop for an altar to those killed by police violence. When workers later arrived with the task of removing the plywood to create an entrance to the building, they refused to dismantle the altar.\u003c/p>\n\u003cp>“They saw our crew name and made the call to make sure this is preserved,” Carpio says. “It was very lucky and fortunate that it was within the community of folks.” Carpio was able to call her friends to move the altar, and the workers delivered the plywood boards directly to her own Oakland backyard.\u003c/p>\n\u003cp>Other muralists say they too thought only passingly about the future of their murals as they worked to get them up. Estella Tse and Sofia Sharpe, who both grew up in Oakland, painted a mural in honor of Breonna Taylor on June 5—what would have been her 27th birthday.\u003c/p>\n\u003cp>“Her name was kind of getting swept in between larger events happening around her, and she wasn’t getting a lot of the recognition for the justice she deserved,” Sharpe says of the impulse behind their painting. Only one of the three officers who shot Taylor has been fired; the other two have been placed on administrative reassignment, and none have been charged.\u003c/p>\n\u003cfigure id=\"attachment_13881568\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881568\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM.jpg\" alt=\"\" width=\"1200\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-1020x765.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The mural in honor of Breonna Taylor’s 27th birthday, painted by Sofia Sharpe and Estella Tse. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sharpe echoes the Black Cultural Zone’s desire to place the murals within the context of the movement for racial justice. “It’s not just about murals, but about everything that is happening and has led up to it and where it’s going from there,” Sharpe says.\u003c/p>\n\u003cp>Objects can tell powerful stories, which is why conversations about how to preserve and honor items related to the Black Lives Matter movement and the latest uprisings are happening at both the grassroots community level and in national organizations. Coalition building and the centering of Black voices is key: The National Museum of African American History and Culture, the National Museum of American History and the Anacostia Community Museum \u003ca href=\"https://nmaahc.si.edu/about/news/statement-efforts-collect-objects-lafayette-square\" rel=\"noopener noreferrer\" target=\"_blank\">recently announced\u003c/a> a collective effort to document and preserve “expressions of protest and hope” from Lafayette Square in Washington, D.C. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“You never know what stories artifacts and objects will tell,” Fogarty says, pointing to architectural fragments exhibited in OMCA’s \u003ci>\u003ca href=\"https://museumca.org/exhibit/all-power-people-black-panthers-50\" rel=\"noopener noreferrer\" target=\"_blank\">All Power to the People: Black Panthers at 50\u003c/a>\u003c/i>, testaments to the physical destruction of the Black community. While it’s difficult to know exactly which objects will speak most loudly a half century from now, the mistakes of the past can be illuminating. “We’re very mindful of what the museum was not collecting in 1968,” Fogarty says.\u003c/p>\n\u003cp>For Tse and Sharpe, whether or not their own work is preserved is less important to them than the messages the murals contain, and how the desire to document those messages illustrates art’s place in social movements.\u003c/p>\n\u003cp>“We can see from this how art heals, there is an impact, there is a purpose for art,” Tse says. Citing the difficult and long process of going through official channels to create public art, she adds, “I just hope there’s more opportunities for artists to make art like this in very challenging times.”\u003c/p>\n\u003cp>Carpio agrees: “I feel like this is one way to mark this moment and is also another way of really showing that what artists can contribute to a movement, and how we can envision a different future than what we normally have lived, prior to the pandemic and prior to the uprising.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Three years ago, the William and Flora Hewlett Foundation announced the Hewlett 50 Arts Commission, a major five-year, $8 million initiative to commission “50 exceptional works of performing arts.” Each year since, the foundation has awarded 10 grants to Bay Area nonprofits that work with artists for the creation of new works.\u003c/p>\n\u003cp>The Hewlett Foundation announced \u003ca href=\"https://hewlett.org/50commissions/\" rel=\"noopener noreferrer\" target=\"_blank\">this year’s awardees\u003c/a>, all in the field of dance and movement-based performance, on Tuesday. The 10 awardees will receive $150,000 each to bring their projects to fruition over the next three years; they include organizations in the Bay Area both small and large, such as the EastSide Arts Alliance in Oakland and the Green Music Center at Sonoma State University. A full list is below. \u003c/p>\n\u003cp>“While the projects awarded today were conceived and planned before the pandemic or the current Black Lives Matter protests across the country, the themes they will tackle—including racial justice, inequality and rising xenophobia around the world—are strikingly relevant to the challenges our society confronts today,” according to a press release announcing the $1.5 million in grants, chosen by a national panel of dance experts.\u003c/p>\n\u003cp>The arts have the ability to “infuse people’s lives with beauty, offer solace and build empathy—and that’s especially important right now,” Emiko Ono, Performing Arts Program Director for the Hewlett Foundation, said in a statement. “At a time when our country is grappling with its failures and trying to chart a path forward, these artistic projects can illuminate the lives of individuals and our diverse communities, provoke debate and help reimagine our shared future.” \u003c/p>\n\u003cp>Since its founding in 1967, the Hewlett Foundation, based in Menlo Park, has awarded more than $375 million to arts organizations. (The foundation also supplies funding for KQED Arts.) Previous awardees in the Hewlett 50 Arts Commission include the disciplines of music composition, theater and spoken word performance; future grants for folk and traditional arts, film and media will be announced in the future. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>2020 Hewlett 50 Arts Commission Awardees\u003c/h2>\n\u003cp>\u003cstrong>Brava! for Women in the Arts with Vanessa Sanchez\u003c/strong>\u003cbr>\n“Ghostly Labor” illuminates a history of abuse, activism and perseverance by Chicana and Native women working in the US-Mexico borderlands.\u003c/p>\n\u003cp>\u003cstrong>Center for Empowering Refugees and Immigrants and ARTogether with Prumsodun Ok\u003c/strong>\u003cbr>\n“A Deepest Blue” uses a founding myth common to Cambodia and Japan to contemplate humanity’s relationship with and responsibility to our threatened oceans and the natural world.\u003c/p>\n\u003cp>\u003cstrong>Circo Zero with Ishmael Houston-Jones\u003c/strong>\u003cbr>\n“TRY” is an experimental improvised dance that aims to subvert traditional notions of race and masculinity.\u003c/p>\n\u003cp>\u003cstrong>Dancers’ Group with Joanna Haigood\u003c/strong>\u003cbr>\n“The People’s Building” investigates movement and visual storytelling in relation to the history, architecture and metaphors inherent in San Francisco City Hall.\u003c/p>\n\u003cp>\u003cstrong>Green Music Center with Liz Lerman\u003c/strong>\u003cbr>\nAn evening-length dance-theater piece, “Wicked Bodies (Sonoma)” wonders about the persistence across time and culture of old crones, evil stepmothers and powerful institutions’ use of the female body as a source of fear. \u003c/p>\n\u003cp>\u003cstrong>EastSide Arts Alliance with Amara Tabor-Smith\u003c/strong>\u003cbr>\n“This too shall pass” is part of a ritual dance theater project addressing the wellbeing, displacement and sex-trafficking of black women and girls in Oakland. \u003c/p>\n\u003cp>\u003cstrong>Nā Lei Hulu I Ka Wēkiu with Patrick Makuakāne\u003c/strong>\u003cbr>\n“MĀHŪ” is a work of multi-media hula dance theater that aims to reclaim and celebrate the traditional place of honor, respect and influence given to māhū (transgender) people in ancient Hawaiian society.\u003c/p>\n\u003cp>\u003cstrong>Japanese American Citizens League, San Jose Chapter with Yayoi Kambara\u003c/strong>\u003cbr>\n“IKKAI means once: a transplanted pilgrimage” incorporates modern dance, Bon Odori, storytelling and taiko to guide audiences through the impact and legacy of Japanese American incarceration during World War II.\u003c/p>\n\u003cp>\u003cstrong>Filipino-American Development Foundation with Alleluia Panis\u003c/strong>\u003cbr>\n“Nursing These Wounds” investigates the impact of colonization on Pilipinx health and caregiving through the lens of Pilipinx nurses’ history.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Margaret Jenkins Dance Company with Margaret Jenkins\u003c/strong>\u003cbr>\nIn “Global Moves,” artists from China, India, Israel and the United States explore the current waves of isolation and xenophobia in their countries and around the world, using cultural texts as prompts to make a work of hope and unity.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Three years ago, the William and Flora Hewlett Foundation announced the Hewlett 50 Arts Commission, a major five-year, $8 million initiative to commission “50 exceptional works of performing arts.” Each year since, the foundation has awarded 10 grants to Bay Area nonprofits that work with artists for the creation of new works.\u003c/p>\n\u003cp>The Hewlett Foundation announced \u003ca href=\"https://hewlett.org/50commissions/\" rel=\"noopener noreferrer\" target=\"_blank\">this year’s awardees\u003c/a>, all in the field of dance and movement-based performance, on Tuesday. The 10 awardees will receive $150,000 each to bring their projects to fruition over the next three years; they include organizations in the Bay Area both small and large, such as the EastSide Arts Alliance in Oakland and the Green Music Center at Sonoma State University. A full list is below. \u003c/p>\n\u003cp>“While the projects awarded today were conceived and planned before the pandemic or the current Black Lives Matter protests across the country, the themes they will tackle—including racial justice, inequality and rising xenophobia around the world—are strikingly relevant to the challenges our society confronts today,” according to a press release announcing the $1.5 million in grants, chosen by a national panel of dance experts.\u003c/p>\n\u003cp>The arts have the ability to “infuse people’s lives with beauty, offer solace and build empathy—and that’s especially important right now,” Emiko Ono, Performing Arts Program Director for the Hewlett Foundation, said in a statement. “At a time when our country is grappling with its failures and trying to chart a path forward, these artistic projects can illuminate the lives of individuals and our diverse communities, provoke debate and help reimagine our shared future.” \u003c/p>\n\u003cp>Since its founding in 1967, the Hewlett Foundation, based in Menlo Park, has awarded more than $375 million to arts organizations. (The foundation also supplies funding for KQED Arts.) Previous awardees in the Hewlett 50 Arts Commission include the disciplines of music composition, theater and spoken word performance; future grants for folk and traditional arts, film and media will be announced in the future. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Eight Nights in the Streets of Santa Rosa",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>anta Rosa, my hometown, is a relatively serene place. You may know it as the home to \u003cem>Peanuts\u003c/em>, \u003ca href=\"https://www.huffpost.com/entry/pliny-the-younger_n_1525647\" rel=\"noopener noreferrer\" target=\"_blank\">Pliny the Younger\u003c/a>, and a tourist-friendly food and wine scene. When Alfred Hitchcock needed an all-American small town in which to set \u003cem>Shadow of a Doubt\u003c/em>, he chose Santa Rosa, quiet and idyllic.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13881659\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Gabe.Bio_.Cap_.small_.jpg\" alt=\"\" width=\"180\" height=\"204\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Gabe.Bio_.Cap_.small_.jpg 180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Gabe.Bio_.Cap_.small_-160x181.jpg 160w\" sizes=\"(max-width: 180px) 100vw, 180px\">\u003c/p>\n\u003cp>But like most cities across America, Santa Rosa has looked and sounded a little different these past 10 days. I’ve been out in the streets until after midnight on almost all of those nights, walking and talking with an incredible uprising of people, mostly young, demanding an end to systemic racism and police brutality in the aftermath of the police killings of George Floyd and Breonna Taylor. I’ve lived in Santa Rosa my entire life and I have never seen anything like it.\u003c/p>\n\u003cp>What’s happening here is remarkable, not just on an aesthetic level—Santa Rosa can always use a little more chaos, in my humble opinion—but for the important, deeper work of necessary change. Racial oppression and acute injustice that’s long simmered under the surface here has now boiled over into public view. Ideas previously dismissed as unfeasible are being taken seriously.\u003c/p>\n\u003cp>And the kids—of course, it’s always the kids—are leading the way. And I’ve been following them.\u003c/p>\n\u003cfigure id=\"attachment_13881698\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Protest.Freeway.jpg\" alt=\"Protesters face off with police near a downtown freeway offramp in Santa Rosa on Saturday, May 30.\" width=\"800\" height=\"752\" class=\"size-full wp-image-13881698\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Protest.Freeway.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Protest.Freeway-160x150.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Protest.Freeway-768x722.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Protesters face off with police near a downtown freeway offramp in Santa Rosa on Saturday, May 30. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">H\u003c/span>ere are a few things I’ve seen and heard while \u003ca href=\"https://www.kqed.org/news/11822946/in-santa-rosa-a-week-of-tear-gas-rubber-bullets-and-over-150-arrests\" rel=\"noopener noreferrer\" target=\"_blank\">reporting\u003c/a> and \u003ca href=\"https://twitter.com/gmeline\" rel=\"noopener noreferrer\" target=\"_blank\">live-tweeting\u003c/a> from the front lines of the protests in Santa Rosa.\u003c/p>\n\u003cp>I’ve been \u003ca href=\"https://twitter.com/gmeline/status/1266966367753785344\" target=\"_blank\" rel=\"noopener noreferrer\">tear gassed\u003c/a> \u003ca href=\"https://twitter.com/gmeline/status/1267357917172252673\" target=\"_blank\" rel=\"noopener noreferrer\">twice\u003c/a>. I’ve had \u003ca href=\"https://twitter.com/gmeline/status/1267727761491124226\" target=\"_blank\" rel=\"noopener noreferrer\">rubber bullets\u003c/a> fired in my direction. I’ve watched a young woman of color \u003ca href=\"https://twitter.com/gmeline/status/1268060389100490752\" target=\"_blank\" rel=\"noopener noreferrer\">wrestled to the ground by four officers\u003c/a> and pinned to the asphalt, screaming, with a knee in her back. I’ve seen an 11-year old girl in zip ties, being led away by an officer.\u003c/p>\n\u003cp>I’ve seen people \u003ca href=\"https://twitter.com/gmeline/status/1266951227117465600\" target=\"_blank\" rel=\"noopener noreferrer\">tumble down a hill\u003c/a>, their scrapes bleeding, when the police chased them away for \u003ca href=\"https://twitter.com/gmeline/status/1266949481158725632\" target=\"_blank\" rel=\"noopener noreferrer\">blocking the freeway\u003c/a>. I’ve heard from a small business owner whose window was broken from a rubber bullet fired by police, which the police denied doing until shown video evidence. I’ve talked to a building manager whose roof was commandeered without his permission by police, who cut open the fence around the roof, and who left it that way without telling him, leaving it exposed to trespassers.\u003c/p>\n\u003cp>https://twitter.com/gmeline/status/1267357917172252673\u003c/p>\n\u003cp>I’ve seen the police chief \u003ca href=\"https://twitter.com/gmeline/status/1267557883341795328\" target=\"_blank\" rel=\"noopener noreferrer\">take a knee\u003c/a> with young demonstrators and, later that same night, seen his officers \u003ca href=\"https://twitter.com/gmeline/status/1267727761491124226\" target=\"_blank\" rel=\"noopener noreferrer\">shooting tear gas\u003c/a> into a crowd, in addition to rubber bullets that hit a local tribal leader in the mouth and \u003ca href=\"https://www.pressdemocrat.com/news/11005880-181/anger-concern-mount-over-santa\" target=\"_blank\" rel=\"noopener noreferrer\">smashed his teeth out\u003c/a>.\u003c/p>\n\u003cp>I’ve talked with a \u003ca href=\"https://twitter.com/gmeline/status/1268045630863114242\" target=\"_blank\" rel=\"noopener noreferrer\">reporter wearing clearly visible credentials, just after he was detained\u003c/a>, during which police ordered him to put his arms up, zip-tied his wrists, asked for his Facebook page and if he’d been engaged in the perfectly legal practice of livestreaming the protests.\u003c/p>\n\u003cp>I’ve also seen people \u003ca href=\"https://twitter.com/gmeline/status/1268022926177009664\" target=\"_blank\" rel=\"noopener noreferrer\">hurl bottles toward police\u003c/a>, both plastic and glass. I’ve seen people warn police “\u003ca href=\"https://twitter.com/gmeline/status/1266940332421246977\" target=\"_blank\" rel=\"noopener noreferrer\">You saw Minneapolis burn up, you may be next\u003c/a>.” I’ve seen people shout all sorts of threats, insults and provably false accusations at police. I’ve heard of people \u003ca href=\"https://twitter.com/Kingbuzzo2/status/1270203489751232514\" target=\"_blank\" rel=\"noopener noreferrer\">shooting fireworks toward police\u003c/a>. I’ve seen \u003ca href=\"https://twitter.com/gmeline/status/1267338554394345472\" target=\"_blank\" rel=\"noopener noreferrer\">department store windows smashed\u003c/a>, and \u003ca href=\"https://twitter.com/gmeline/status/1267350679447728130\" target=\"_blank\" rel=\"noopener noreferrer\">large brawls\u003c/a>, and \u003ca href=\"https://twitter.com/gmeline/status/1266936331105525761\" target=\"_blank\" rel=\"noopener noreferrer\">graffiti galore\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13881697\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Protest.BadBrains.jpg\" alt=\"A line of protesters blocks the intersection of College and Mendocino Avenues in Santa Rosa on Friday, June 5.\" width=\"600\" height=\"800\" class=\"size-full wp-image-13881697\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Protest.BadBrains.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Protest.BadBrains-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Protest.BadBrains-768x1024.jpg 768w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">A line of protesters blocks the intersection of College and Mendocino Avenues in Santa Rosa on Friday, June 5. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But here’s what I want to say, and after eight nights in the streets I can say it with authority: The ones doing these things constitute a very small number, relative to a larger, focused group that cares passionately about dismantling systemic racism, and which by and large polices itself.\u003c/p>\n\u003cp>Each time I’ve seen something thrown at police, the majority of the crowd castigates them. When a \u003ca href=\"https://twitter.com/gmeline/status/1267343402946854913\" target=\"_blank\" rel=\"noopener noreferrer\">sideshow turned rowdy\u003c/a> with fighting on the periphery, protesters pushed the few troublemakers away while others \u003ca href=\"https://twitter.com/gmeline/status/1267347481190264834\" target=\"_blank\" rel=\"noopener noreferrer\">took over the intersection and knelt\u003c/a>, reclaiming their space and refocusing the protest on the issues at hand.\u003c/p>\n\u003cp>And as for the \u003ca href=\"https://twitter.com/gmeline/status/1267341570140827648\" target=\"_blank\" rel=\"noopener noreferrer\">single case I witnessed of someone stealing store merchandise\u003c/a>, through the broken windows of an athletic store in the mall? The man who \u003ca href=\"https://twitter.com/gmeline/status/1267489053198303235\" rel=\"noopener noreferrer\" target=\"_blank\">ran past me\u003c/a> with an handful of clothes was swiftly intercepted by a group of young women, who took the clothes away from him and actually \u003cem>walked back to the store to return them\u003c/em>.\u003c/p>\n\u003cp>https://twitter.com/gmeline/status/1267489053198303235\u003c/p>\n\u003cp>For the most part, I have seen joy and determination. I’ve watched people \u003ca href=\"https://twitter.com/gmeline/status/1267666299796123648\" target=\"_blank\" rel=\"noopener noreferrer\">dancing in the streets\u003c/a>. I’ve witnessed a rap video against police brutality \u003ca href=\"https://twitter.com/gmeline/status/1269139427751673858\" target=\"_blank\" rel=\"noopener noreferrer\">filmed in the middle of an intersection\u003c/a>. I’ve seen kids \u003ca href=\"https://twitter.com/gmeline/status/1267583800344637440\" target=\"_blank\" rel=\"noopener noreferrer\">popping wheelies\u003c/a> on bikes. I’ve walked alongside people \u003ca href=\"https://twitter.com/gmeline/status/1269114467289202688\" target=\"_blank\" rel=\"noopener noreferrer\">carrying heavy stereo systems\u003c/a> on their backs to play \u003ca href=\"https://twitter.com/gmeline/status/1268847582744211456\" target=\"_blank\" rel=\"noopener noreferrer\">YG, Biggie, Boosie, E-40, Nipsey, Tupac, Mozzy and so much Mac Dre\u003c/a>. I’ve met \u003ca href=\"https://twitter.com/gmeline/status/1269134943684198400\" rel=\"noopener noreferrer\" target=\"_blank\">a five-year-old boy\u003c/a> who keeps encouraging his mother to bring him out to march. I’ve seen neighbors \u003ca href=\"https://twitter.com/gmeline/status/1268030076727091200\" target=\"_blank\" rel=\"noopener noreferrer\">cheer on marchers\u003c/a> from their porches, and \u003ca href=\"https://twitter.com/gmeline/status/1268040537258381312\" target=\"_blank\" rel=\"noopener noreferrer\">marchers hug neighbors\u003c/a> who are scared. \u003c/p>\n\u003cp>On the last night I was out, I met a guy who’d had a rubber bullet \u003ca href=\"https://twitter.com/gmeline/status/1269104239235624961\" target=\"_blank\" rel=\"noopener noreferrer\">shot into his forehead\u003c/a> by police, piercing his skin. Did it stop him? No. There he was, a few days later in a downtown intersection, cooking hamburgers and hot dogs and \u003ca href=\"https://twitter.com/gmeline/status/1269133801667432448\" target=\"_blank\" rel=\"noopener noreferrer\">serving them to protesters off the back of his truck\u003c/a>, free of charge.\u003c/p>\n\u003cfigure id=\"attachment_13881700\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Protest.CarDoors-800x615.jpg\" alt=\"A car of protesters drives beneath the downtown mall in Santa Rosa on Saturday, June 2.\" width=\"800\" height=\"615\" class=\"size-medium wp-image-13881700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Protest.CarDoors-800x615.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Protest.CarDoors-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Protest.CarDoors-768x590.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Protest.CarDoors-1020x784.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Protest.CarDoors.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A car of protesters drives beneath the downtown mall in Santa Rosa on Saturday, June 2. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>t age 44, I’ve learned a lot about political action from these young protesters. I’m really into this feeling that political action doesn’t have to be traditional political action, standing around and carrying earnest signs. Political action doesn’t have to hold you by the hand and constantly tell you how political it’s being.\u003c/p>\n\u003cp>Political action can be blocking freeways, smoking blunts, dancing to “Get Stupid,” hanging off open car doors and lighting fireworks. The kids I’ve walked with and gotten to know aren’t fighting for the right to do those specific things, but they \u003cem>are\u003c/em> creating a tangible energy. Doing these things creates the space in which they can feel freedom, in a society that constantly stifles them, and tells them they’re too young to understand the way things work. That space, that energy, that freedom created by their chaos is undeniably a political act.\u003c/p>\n\u003cp>When you spend time with younger people and understand their language, these things come into focus. I may not understand why one would get in their car and \u003ca href=\"https://twitter.com/gmeline/status/1267343402946854913\" target=\"_blank\" rel=\"noopener noreferrer\">spin donuts in circles\u003c/a> dangerously close to a bunch of strangers. But in my own experience, freedom through chaos has come from hardcore shows, in the pit, \u003ca href=\"http://citysound.bohemian.com/2010/06/05/live-review-filth-reunion-at-gilman/\" target=\"_blank\" rel=\"noopener noreferrer\">flailing dangerously\u003c/a>, enmeshed with a bunch of other strangers, around and around in a circle. How is a sideshow much different?\u003c/p>\n\u003cp>https://twitter.com/gmeline/status/1267343402946854913\u003c/p>\n\u003cp>A swarm of lefty progressives standing around and holding signs that say “This is what democracy looks like”—that doesn’t make me feel free. If anything, it makes me feel trapped, by the chains of tradition, by the drudgery of the way it’s always been done. And after 30 years of watching protests I can tell you it doesn’t work. It’s why the police allow you to stand around and hold signs: it doesn’t change a system which benefits them.\u003c/p>\n\u003cp>There are other things the kids are teaching us. How donations can be made via Venmo and CashApp directly to individuals, instead of 501(c)(3) charities with salaries and overhead. How mutual aid can replace traditional fundraising. How you don’t have to hold endless meetings to plan a protest, and can simply post a notice on Instagram stories and watch people come.\u003c/p>\n\u003cp>I’d like to believe young people could learn something from my generation, too. But they’ve already learned a lot, because of something that happened in Santa Rosa in 2013. It shows up in graffiti and signs at protests here, and in moments like last Tuesday’s march, when the crowd stopped at an intersection and sang “\u003ca href=\"https://twitter.com/gmeline/status/1268035512184369152\" target=\"_blank\" rel=\"noopener noreferrer\">Happy Birthday\u003c/a>” to a 13-year-old kid who should have had the chance to live, named Andy Lopez.\u003c/p>\n\u003cfigure id=\"attachment_13881701\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Protest.Kamari-800x600.jpg\" alt=\"Kamari Houston, 5, helps serve food in Santa Rosa on Friday, June 5. He’s talked his mother Onjelle into coming out each night: "He seen it on the news and told me ‘Mama, I have to go out there, I have to be a part of that.'"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13881701\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Protest.Kamari-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Protest.Kamari-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Protest.Kamari-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Protest.Kamari-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Protest.Kamari.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kamari Houston, 5, helps serve food in Santa Rosa on Friday, June 5. He’s talked his mother Onjelle into coming out each night: “He seen it on the news and told me ‘Mama, I have to go out there, I have to be a part of that.'” \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n 2013, Lopez was walking with an airsoft gun made to look like an AK-47, with the orange tip indicating it as a replica removed. Two sheriff’s deputies spotted him and stopped their car, and one, Erick Gelhaus, got out and told Andy to put down his gun. As Andy moved to turn around and face the deputy, Gelhaus fired at him and struck him seven times, killing him on the spot.\u003c/p>\n\u003cp>By the SRPD’s admission, Andy hadn’t fully turned around to see who might be calling to him before he was filled with bullets. According to the autopsy, he was struck, among other places, in the right hip and right buttock—from behind.\u003c/p>\n\u003cp>The protesters I’ve walked with in Santa Rosa this past week are largely between the ages of 18 and 25. These are the kids who went to school with Andy. They haven’t forgotten.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Andy Lopez’s killing, and its aftermath, is an object lesson in things that are fundamentally wrong within law enforcement. A deputy knows he only has to say he \u003ca href=\"https://www.bohemian.com/northbay/gun-crazy/Content?oid=2502580\" target=\"_blank\" rel=\"noopener noreferrer\">feared for his life\u003c/a> to get away with a fatal shooting. The department will put him \u003ca href=\"https://www.pressdemocrat.com/news/2477642-181/deputy-who-shot-santa-rosa\" target=\"_blank\" rel=\"noopener noreferrer\">on paid leave\u003c/a> while an investigation gets underway—not by an independent oversight committee, but by the local police. The district attorney will \u003ca href=\"https://www.pressdemocrat.com/news/2355212-181/ravitch-no-criminal-charges-warranted\" target=\"_blank\" rel=\"noopener noreferrer\">report that the boy had smoked marijuana and that the deputy acted within the law\u003c/a>. The grand jury, made up primarily of older white people, will \u003ca href=\"https://www.pressdemocrat.com/news/2364903-181/grand-jury-may-not-review\" target=\"_blank\" rel=\"noopener noreferrer\">decline to review\u003c/a> the report. Somewhere in all the aftermath, the deputy will return to work, and be \u003ca href=\"https://www.facebook.com/gmeline/posts/10204895880894352\" target=\"_blank\" rel=\"noopener noreferrer\">given an award\u003c/a>, and a \u003ca href=\"https://www.petaluma360.com/news/5934083-182/sonoma-county-sheriff-promotes-deputy?artslide=0\" target=\"_blank\" rel=\"noopener noreferrer\">promotion\u003c/a>.\u003c/p>\n\u003cp>This is the way the system works. The kids in Santa Rosa know this. The cops are now \u003ca href=\"https://twitter.com/gmeline/status/1268075386321027072\" rel=\"noopener noreferrer\" target=\"_blank\">arresting them\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/gmeline/status/1268060389100490752\u003c/p>\n\u003cp>We have a policing problem in this country. That’s not a radical idea anymore, and neither is the notion of \u003ca href=\"https://twitter.com/Yamiche/status/1270062570691534851\" rel=\"noopener noreferrer\" target=\"_blank\">reducing police budgets and redistributing funds\u003c/a> to other departments. In Santa Rosa, where our mayor is the former police chief who routinely votes in favor of police funding, the police budget currently accounts for 32% of the \u003ca href=\"https://srcity.org/DocumentCenter/View/25591/FY-2019-20-Operations-and-Maintenance-Documents\" target=\"_blank\" rel=\"noopener noreferrer\">city’s general fund expenditures\u003c/a>. Fire receives 24%; transportation and public works 15%; community engagement and recreation 6%.\u003c/p>\n\u003cp>Housing, in dire shortage here \u003ca href=\"https://www.kqed.org/arts/series/up-from-the-ashes\" rel=\"noopener noreferrer\" target=\"_blank\">since the 2017 wildfires\u003c/a>, receives 1%.\u003c/p>\n\u003cp>But the current protests in Santa Rosa and across the county aren’t just about law enforcement and inequity. They’re about hundreds of years of sick, systemic racism. In Santa Rosa, that stain goes back over 100 years, to an influx of early settlers from Missouri, and to the \u003ca href=\"https://www.pressdemocrat.com/news/8980330-181/gaye-lebaron-based-on-truth\" target=\"_blank\" rel=\"noopener noreferrer\">town’s support of the Confederacy\u003c/a> during the Civil War, and to the \u003ca href=\"https://www.pressdemocrat.com/news/2171735-181/clarence-h-barney-barnard-anonymously\" target=\"_blank\" rel=\"noopener noreferrer\">second-to-last known lynching\u003c/a> in the West. It goes back to a \u003ca href=\"https://www.pressdemocrat.com/news/7335296-181/lebaron-the-day-the-nazis\" target=\"_blank\" rel=\"noopener noreferrer\">Nazi rally in 1978\u003c/a>. It goes back to the 1920s, when a giant sign spanned the corner of Fourth and Mendocino, above the intersection in the heart of Santa Rosa, that read “\u003ca href=\"https://www.pressdemocrat.com/news/2317072-181/lebaron-citys-rich-painful-chinese\" target=\"_blank\" rel=\"noopener noreferrer\">The Chinese Must Go\u003c/a>.”\u003c/p>\n\u003cp>I think of the kids protesting in the middle of that very same intersection now—kneeling, dancing, hanging off car doors, blaring music, chanting, fighting for a better future—and I hope to God they never stop.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Santa Rosa's protests for George Floyd, Breonna Taylor and Andy Lopez are like nothing I've ever seen in my hometown.",
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"title": "Eight Nights in the Streets of Santa Rosa | KQED",
"description": "Santa Rosa's protests for George Floyd, Breonna Taylor and Andy Lopez are like nothing I've ever seen in my hometown.",
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"headline": "Eight Nights in the Streets of Santa Rosa",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>anta Rosa, my hometown, is a relatively serene place. You may know it as the home to \u003cem>Peanuts\u003c/em>, \u003ca href=\"https://www.huffpost.com/entry/pliny-the-younger_n_1525647\" rel=\"noopener noreferrer\" target=\"_blank\">Pliny the Younger\u003c/a>, and a tourist-friendly food and wine scene. When Alfred Hitchcock needed an all-American small town in which to set \u003cem>Shadow of a Doubt\u003c/em>, he chose Santa Rosa, quiet and idyllic.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13881659\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Gabe.Bio_.Cap_.small_.jpg\" alt=\"\" width=\"180\" height=\"204\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Gabe.Bio_.Cap_.small_.jpg 180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Gabe.Bio_.Cap_.small_-160x181.jpg 160w\" sizes=\"(max-width: 180px) 100vw, 180px\">\u003c/p>\n\u003cp>But like most cities across America, Santa Rosa has looked and sounded a little different these past 10 days. I’ve been out in the streets until after midnight on almost all of those nights, walking and talking with an incredible uprising of people, mostly young, demanding an end to systemic racism and police brutality in the aftermath of the police killings of George Floyd and Breonna Taylor. I’ve lived in Santa Rosa my entire life and I have never seen anything like it.\u003c/p>\n\u003cp>What’s happening here is remarkable, not just on an aesthetic level—Santa Rosa can always use a little more chaos, in my humble opinion—but for the important, deeper work of necessary change. Racial oppression and acute injustice that’s long simmered under the surface here has now boiled over into public view. Ideas previously dismissed as unfeasible are being taken seriously.\u003c/p>\n\u003cp>And the kids—of course, it’s always the kids—are leading the way. And I’ve been following them.\u003c/p>\n\u003cfigure id=\"attachment_13881698\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Protest.Freeway.jpg\" alt=\"Protesters face off with police near a downtown freeway offramp in Santa Rosa on Saturday, May 30.\" width=\"800\" height=\"752\" class=\"size-full wp-image-13881698\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Protest.Freeway.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Protest.Freeway-160x150.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Protest.Freeway-768x722.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Protesters face off with police near a downtown freeway offramp in Santa Rosa on Saturday, May 30. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">H\u003c/span>ere are a few things I’ve seen and heard while \u003ca href=\"https://www.kqed.org/news/11822946/in-santa-rosa-a-week-of-tear-gas-rubber-bullets-and-over-150-arrests\" rel=\"noopener noreferrer\" target=\"_blank\">reporting\u003c/a> and \u003ca href=\"https://twitter.com/gmeline\" rel=\"noopener noreferrer\" target=\"_blank\">live-tweeting\u003c/a> from the front lines of the protests in Santa Rosa.\u003c/p>\n\u003cp>I’ve been \u003ca href=\"https://twitter.com/gmeline/status/1266966367753785344\" target=\"_blank\" rel=\"noopener noreferrer\">tear gassed\u003c/a> \u003ca href=\"https://twitter.com/gmeline/status/1267357917172252673\" target=\"_blank\" rel=\"noopener noreferrer\">twice\u003c/a>. I’ve had \u003ca href=\"https://twitter.com/gmeline/status/1267727761491124226\" target=\"_blank\" rel=\"noopener noreferrer\">rubber bullets\u003c/a> fired in my direction. I’ve watched a young woman of color \u003ca href=\"https://twitter.com/gmeline/status/1268060389100490752\" target=\"_blank\" rel=\"noopener noreferrer\">wrestled to the ground by four officers\u003c/a> and pinned to the asphalt, screaming, with a knee in her back. I’ve seen an 11-year old girl in zip ties, being led away by an officer.\u003c/p>\n\u003cp>I’ve seen people \u003ca href=\"https://twitter.com/gmeline/status/1266951227117465600\" target=\"_blank\" rel=\"noopener noreferrer\">tumble down a hill\u003c/a>, their scrapes bleeding, when the police chased them away for \u003ca href=\"https://twitter.com/gmeline/status/1266949481158725632\" target=\"_blank\" rel=\"noopener noreferrer\">blocking the freeway\u003c/a>. I’ve heard from a small business owner whose window was broken from a rubber bullet fired by police, which the police denied doing until shown video evidence. I’ve talked to a building manager whose roof was commandeered without his permission by police, who cut open the fence around the roof, and who left it that way without telling him, leaving it exposed to trespassers.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>I’ve seen the police chief \u003ca href=\"https://twitter.com/gmeline/status/1267557883341795328\" target=\"_blank\" rel=\"noopener noreferrer\">take a knee\u003c/a> with young demonstrators and, later that same night, seen his officers \u003ca href=\"https://twitter.com/gmeline/status/1267727761491124226\" target=\"_blank\" rel=\"noopener noreferrer\">shooting tear gas\u003c/a> into a crowd, in addition to rubber bullets that hit a local tribal leader in the mouth and \u003ca href=\"https://www.pressdemocrat.com/news/11005880-181/anger-concern-mount-over-santa\" target=\"_blank\" rel=\"noopener noreferrer\">smashed his teeth out\u003c/a>.\u003c/p>\n\u003cp>I’ve talked with a \u003ca href=\"https://twitter.com/gmeline/status/1268045630863114242\" target=\"_blank\" rel=\"noopener noreferrer\">reporter wearing clearly visible credentials, just after he was detained\u003c/a>, during which police ordered him to put his arms up, zip-tied his wrists, asked for his Facebook page and if he’d been engaged in the perfectly legal practice of livestreaming the protests.\u003c/p>\n\u003cp>I’ve also seen people \u003ca href=\"https://twitter.com/gmeline/status/1268022926177009664\" target=\"_blank\" rel=\"noopener noreferrer\">hurl bottles toward police\u003c/a>, both plastic and glass. I’ve seen people warn police “\u003ca href=\"https://twitter.com/gmeline/status/1266940332421246977\" target=\"_blank\" rel=\"noopener noreferrer\">You saw Minneapolis burn up, you may be next\u003c/a>.” I’ve seen people shout all sorts of threats, insults and provably false accusations at police. I’ve heard of people \u003ca href=\"https://twitter.com/Kingbuzzo2/status/1270203489751232514\" target=\"_blank\" rel=\"noopener noreferrer\">shooting fireworks toward police\u003c/a>. I’ve seen \u003ca href=\"https://twitter.com/gmeline/status/1267338554394345472\" target=\"_blank\" rel=\"noopener noreferrer\">department store windows smashed\u003c/a>, and \u003ca href=\"https://twitter.com/gmeline/status/1267350679447728130\" target=\"_blank\" rel=\"noopener noreferrer\">large brawls\u003c/a>, and \u003ca href=\"https://twitter.com/gmeline/status/1266936331105525761\" target=\"_blank\" rel=\"noopener noreferrer\">graffiti galore\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13881697\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Protest.BadBrains.jpg\" alt=\"A line of protesters blocks the intersection of College and Mendocino Avenues in Santa Rosa on Friday, June 5.\" width=\"600\" height=\"800\" class=\"size-full wp-image-13881697\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Protest.BadBrains.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Protest.BadBrains-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Protest.BadBrains-768x1024.jpg 768w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">A line of protesters blocks the intersection of College and Mendocino Avenues in Santa Rosa on Friday, June 5. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But here’s what I want to say, and after eight nights in the streets I can say it with authority: The ones doing these things constitute a very small number, relative to a larger, focused group that cares passionately about dismantling systemic racism, and which by and large polices itself.\u003c/p>\n\u003cp>Each time I’ve seen something thrown at police, the majority of the crowd castigates them. When a \u003ca href=\"https://twitter.com/gmeline/status/1267343402946854913\" target=\"_blank\" rel=\"noopener noreferrer\">sideshow turned rowdy\u003c/a> with fighting on the periphery, protesters pushed the few troublemakers away while others \u003ca href=\"https://twitter.com/gmeline/status/1267347481190264834\" target=\"_blank\" rel=\"noopener noreferrer\">took over the intersection and knelt\u003c/a>, reclaiming their space and refocusing the protest on the issues at hand.\u003c/p>\n\u003cp>And as for the \u003ca href=\"https://twitter.com/gmeline/status/1267341570140827648\" target=\"_blank\" rel=\"noopener noreferrer\">single case I witnessed of someone stealing store merchandise\u003c/a>, through the broken windows of an athletic store in the mall? The man who \u003ca href=\"https://twitter.com/gmeline/status/1267489053198303235\" rel=\"noopener noreferrer\" target=\"_blank\">ran past me\u003c/a> with an handful of clothes was swiftly intercepted by a group of young women, who took the clothes away from him and actually \u003cem>walked back to the store to return them\u003c/em>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>For the most part, I have seen joy and determination. I’ve watched people \u003ca href=\"https://twitter.com/gmeline/status/1267666299796123648\" target=\"_blank\" rel=\"noopener noreferrer\">dancing in the streets\u003c/a>. I’ve witnessed a rap video against police brutality \u003ca href=\"https://twitter.com/gmeline/status/1269139427751673858\" target=\"_blank\" rel=\"noopener noreferrer\">filmed in the middle of an intersection\u003c/a>. I’ve seen kids \u003ca href=\"https://twitter.com/gmeline/status/1267583800344637440\" target=\"_blank\" rel=\"noopener noreferrer\">popping wheelies\u003c/a> on bikes. I’ve walked alongside people \u003ca href=\"https://twitter.com/gmeline/status/1269114467289202688\" target=\"_blank\" rel=\"noopener noreferrer\">carrying heavy stereo systems\u003c/a> on their backs to play \u003ca href=\"https://twitter.com/gmeline/status/1268847582744211456\" target=\"_blank\" rel=\"noopener noreferrer\">YG, Biggie, Boosie, E-40, Nipsey, Tupac, Mozzy and so much Mac Dre\u003c/a>. I’ve met \u003ca href=\"https://twitter.com/gmeline/status/1269134943684198400\" rel=\"noopener noreferrer\" target=\"_blank\">a five-year-old boy\u003c/a> who keeps encouraging his mother to bring him out to march. I’ve seen neighbors \u003ca href=\"https://twitter.com/gmeline/status/1268030076727091200\" target=\"_blank\" rel=\"noopener noreferrer\">cheer on marchers\u003c/a> from their porches, and \u003ca href=\"https://twitter.com/gmeline/status/1268040537258381312\" target=\"_blank\" rel=\"noopener noreferrer\">marchers hug neighbors\u003c/a> who are scared. \u003c/p>\n\u003cp>On the last night I was out, I met a guy who’d had a rubber bullet \u003ca href=\"https://twitter.com/gmeline/status/1269104239235624961\" target=\"_blank\" rel=\"noopener noreferrer\">shot into his forehead\u003c/a> by police, piercing his skin. Did it stop him? No. There he was, a few days later in a downtown intersection, cooking hamburgers and hot dogs and \u003ca href=\"https://twitter.com/gmeline/status/1269133801667432448\" target=\"_blank\" rel=\"noopener noreferrer\">serving them to protesters off the back of his truck\u003c/a>, free of charge.\u003c/p>\n\u003cfigure id=\"attachment_13881700\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Protest.CarDoors-800x615.jpg\" alt=\"A car of protesters drives beneath the downtown mall in Santa Rosa on Saturday, June 2.\" width=\"800\" height=\"615\" class=\"size-medium wp-image-13881700\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Protest.CarDoors-800x615.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Protest.CarDoors-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Protest.CarDoors-768x590.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Protest.CarDoors-1020x784.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Protest.CarDoors.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A car of protesters drives beneath the downtown mall in Santa Rosa on Saturday, June 2. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>t age 44, I’ve learned a lot about political action from these young protesters. I’m really into this feeling that political action doesn’t have to be traditional political action, standing around and carrying earnest signs. Political action doesn’t have to hold you by the hand and constantly tell you how political it’s being.\u003c/p>\n\u003cp>Political action can be blocking freeways, smoking blunts, dancing to “Get Stupid,” hanging off open car doors and lighting fireworks. The kids I’ve walked with and gotten to know aren’t fighting for the right to do those specific things, but they \u003cem>are\u003c/em> creating a tangible energy. Doing these things creates the space in which they can feel freedom, in a society that constantly stifles them, and tells them they’re too young to understand the way things work. That space, that energy, that freedom created by their chaos is undeniably a political act.\u003c/p>\n\u003cp>When you spend time with younger people and understand their language, these things come into focus. I may not understand why one would get in their car and \u003ca href=\"https://twitter.com/gmeline/status/1267343402946854913\" target=\"_blank\" rel=\"noopener noreferrer\">spin donuts in circles\u003c/a> dangerously close to a bunch of strangers. But in my own experience, freedom through chaos has come from hardcore shows, in the pit, \u003ca href=\"http://citysound.bohemian.com/2010/06/05/live-review-filth-reunion-at-gilman/\" target=\"_blank\" rel=\"noopener noreferrer\">flailing dangerously\u003c/a>, enmeshed with a bunch of other strangers, around and around in a circle. How is a sideshow much different?\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>A swarm of lefty progressives standing around and holding signs that say “This is what democracy looks like”—that doesn’t make me feel free. If anything, it makes me feel trapped, by the chains of tradition, by the drudgery of the way it’s always been done. And after 30 years of watching protests I can tell you it doesn’t work. It’s why the police allow you to stand around and hold signs: it doesn’t change a system which benefits them.\u003c/p>\n\u003cp>There are other things the kids are teaching us. How donations can be made via Venmo and CashApp directly to individuals, instead of 501(c)(3) charities with salaries and overhead. How mutual aid can replace traditional fundraising. How you don’t have to hold endless meetings to plan a protest, and can simply post a notice on Instagram stories and watch people come.\u003c/p>\n\u003cp>I’d like to believe young people could learn something from my generation, too. But they’ve already learned a lot, because of something that happened in Santa Rosa in 2013. It shows up in graffiti and signs at protests here, and in moments like last Tuesday’s march, when the crowd stopped at an intersection and sang “\u003ca href=\"https://twitter.com/gmeline/status/1268035512184369152\" target=\"_blank\" rel=\"noopener noreferrer\">Happy Birthday\u003c/a>” to a 13-year-old kid who should have had the chance to live, named Andy Lopez.\u003c/p>\n\u003cfigure id=\"attachment_13881701\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Protest.Kamari-800x600.jpg\" alt=\"Kamari Houston, 5, helps serve food in Santa Rosa on Friday, June 5. He’s talked his mother Onjelle into coming out each night: "He seen it on the news and told me ‘Mama, I have to go out there, I have to be a part of that.'"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13881701\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Protest.Kamari-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Protest.Kamari-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Protest.Kamari-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Protest.Kamari-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Protest.Kamari.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kamari Houston, 5, helps serve food in Santa Rosa on Friday, June 5. He’s talked his mother Onjelle into coming out each night: “He seen it on the news and told me ‘Mama, I have to go out there, I have to be a part of that.'” \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n 2013, Lopez was walking with an airsoft gun made to look like an AK-47, with the orange tip indicating it as a replica removed. Two sheriff’s deputies spotted him and stopped their car, and one, Erick Gelhaus, got out and told Andy to put down his gun. As Andy moved to turn around and face the deputy, Gelhaus fired at him and struck him seven times, killing him on the spot.\u003c/p>\n\u003cp>By the SRPD’s admission, Andy hadn’t fully turned around to see who might be calling to him before he was filled with bullets. According to the autopsy, he was struck, among other places, in the right hip and right buttock—from behind.\u003c/p>\n\u003cp>The protesters I’ve walked with in Santa Rosa this past week are largely between the ages of 18 and 25. These are the kids who went to school with Andy. They haven’t forgotten.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Andy Lopez’s killing, and its aftermath, is an object lesson in things that are fundamentally wrong within law enforcement. A deputy knows he only has to say he \u003ca href=\"https://www.bohemian.com/northbay/gun-crazy/Content?oid=2502580\" target=\"_blank\" rel=\"noopener noreferrer\">feared for his life\u003c/a> to get away with a fatal shooting. The department will put him \u003ca href=\"https://www.pressdemocrat.com/news/2477642-181/deputy-who-shot-santa-rosa\" target=\"_blank\" rel=\"noopener noreferrer\">on paid leave\u003c/a> while an investigation gets underway—not by an independent oversight committee, but by the local police. The district attorney will \u003ca href=\"https://www.pressdemocrat.com/news/2355212-181/ravitch-no-criminal-charges-warranted\" target=\"_blank\" rel=\"noopener noreferrer\">report that the boy had smoked marijuana and that the deputy acted within the law\u003c/a>. The grand jury, made up primarily of older white people, will \u003ca href=\"https://www.pressdemocrat.com/news/2364903-181/grand-jury-may-not-review\" target=\"_blank\" rel=\"noopener noreferrer\">decline to review\u003c/a> the report. Somewhere in all the aftermath, the deputy will return to work, and be \u003ca href=\"https://www.facebook.com/gmeline/posts/10204895880894352\" target=\"_blank\" rel=\"noopener noreferrer\">given an award\u003c/a>, and a \u003ca href=\"https://www.petaluma360.com/news/5934083-182/sonoma-county-sheriff-promotes-deputy?artslide=0\" target=\"_blank\" rel=\"noopener noreferrer\">promotion\u003c/a>.\u003c/p>\n\u003cp>This is the way the system works. The kids in Santa Rosa know this. The cops are now \u003ca href=\"https://twitter.com/gmeline/status/1268075386321027072\" rel=\"noopener noreferrer\" target=\"_blank\">arresting them\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>We have a policing problem in this country. That’s not a radical idea anymore, and neither is the notion of \u003ca href=\"https://twitter.com/Yamiche/status/1270062570691534851\" rel=\"noopener noreferrer\" target=\"_blank\">reducing police budgets and redistributing funds\u003c/a> to other departments. In Santa Rosa, where our mayor is the former police chief who routinely votes in favor of police funding, the police budget currently accounts for 32% of the \u003ca href=\"https://srcity.org/DocumentCenter/View/25591/FY-2019-20-Operations-and-Maintenance-Documents\" target=\"_blank\" rel=\"noopener noreferrer\">city’s general fund expenditures\u003c/a>. Fire receives 24%; transportation and public works 15%; community engagement and recreation 6%.\u003c/p>\n\u003cp>Housing, in dire shortage here \u003ca href=\"https://www.kqed.org/arts/series/up-from-the-ashes\" rel=\"noopener noreferrer\" target=\"_blank\">since the 2017 wildfires\u003c/a>, receives 1%.\u003c/p>\n\u003cp>But the current protests in Santa Rosa and across the county aren’t just about law enforcement and inequity. They’re about hundreds of years of sick, systemic racism. In Santa Rosa, that stain goes back over 100 years, to an influx of early settlers from Missouri, and to the \u003ca href=\"https://www.pressdemocrat.com/news/8980330-181/gaye-lebaron-based-on-truth\" target=\"_blank\" rel=\"noopener noreferrer\">town’s support of the Confederacy\u003c/a> during the Civil War, and to the \u003ca href=\"https://www.pressdemocrat.com/news/2171735-181/clarence-h-barney-barnard-anonymously\" target=\"_blank\" rel=\"noopener noreferrer\">second-to-last known lynching\u003c/a> in the West. It goes back to a \u003ca href=\"https://www.pressdemocrat.com/news/7335296-181/lebaron-the-day-the-nazis\" target=\"_blank\" rel=\"noopener noreferrer\">Nazi rally in 1978\u003c/a>. It goes back to the 1920s, when a giant sign spanned the corner of Fourth and Mendocino, above the intersection in the heart of Santa Rosa, that read “\u003ca href=\"https://www.pressdemocrat.com/news/2317072-181/lebaron-citys-rich-painful-chinese\" target=\"_blank\" rel=\"noopener noreferrer\">The Chinese Must Go\u003c/a>.”\u003c/p>\n\u003cp>I think of the kids protesting in the middle of that very same intersection now—kneeling, dancing, hanging off car doors, blaring music, chanting, fighting for a better future—and I hope to God they never stop.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"soldout": {
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