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"title": "Toots Hibbert, Beloved Reggae Star Who Coined the Term, Dies at 77",
"headTitle": "Toots Hibbert, Beloved Reggae Star Who Coined the Term, Dies at 77 | KQED",
"content": "\u003cp>Toots Hibbert, one of reggae’s founders and most beloved stars who gave the music its name and later helped make it an international movement through such classics as “Pressure Drop,” “Monkey Man” and “Funky Kingston,” has died. He was 77.\u003c/p>\n\u003cp>Hibbert, frontman of Toots & the Maytals, had been in a medically-induced coma at a hospital in Kingston since earlier this month. He was admitted in intensive care after complaints of having breathing difficulties, according to his publicist. It was revealed in local media that the singer was awaiting results from a COVID-19 test after showing symptoms.\u003c/p>\n\u003cp>News of the five-time Grammy nominee’s ill-health came just weeks after his last known performance, on a national live-stream during Jamaica’s Emancipation and Independence celebrations in August.\u003c/p>\n\u003cp>A family statement said Hibbert died Friday at University Hospital of the West Indies in Kingston, Jamaica, surrounded by family.\u003c/p>\n\u003cp>Ziggy Marley, son of Bob Marley, tweeted about the death saying he spoke with Hibbert a few weeks ago and, “told him how much i loved him we laughed & shared our mutual respect,” adding, “He was a father figure to me.”\u003c/p>\n\u003cfigure id=\"attachment_13886210\" class=\"wp-caption aligncenter\" style=\"max-width: 402px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Toots.jpg\" alt=\"Toots Hibbert performs at the very first Outside Lands festival in San Francisco, in 2008.\" width=\"402\" height=\"602\" class=\"size-full wp-image-13886210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Toots.jpg 402w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Toots-160x240.jpg 160w\" sizes=\"(max-width: 402px) 100vw, 402px\">\u003cfigcaption class=\"wp-caption-text\">Toots Hibbert performs at the very first Outside Lands festival in San Francisco, in 2008. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A muscular ex-boxer, Hibbert was a bandleader, songwriter, multi-instrumentalist and showman whose concerts sometimes ended with dozens of audience members dancing with him on stage. He was also, in the opinion of many, reggae’s greatest singer, so deeply spiritual he could transform “Do re mi fa so la ti do” into a hymn. His raspy tenor, uncommonly warm and rough, was likened to the voice of Otis Redding and made him more accessible to American listeners than many reggae artists. Original songs such as “Funky Kingston” and “54-46 That’s My Number” had the emotion and call and response arrangements known to soul and gospel fans. Hibbert even recorded an album of American hits, \u003cem>Toots In Memphis\u003c/em>, which came out in 1988.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Never as immersed in politics as his friend and great contemporary Bob Marley, Hibbert did invoke heavenly justice in “Pressure Drop,” preach peace in “Revolution,” righteousness in “Bam Bam” and scorn his 1960s drug arrest and imprisonment in “54-46 That’s My Number.” He also captured, like few others, everyday life in Jamaica in the years following its independence from Britain in 1962, whether telling of wedding jitters (“Sweet and Dandy”) or of trying to pay the rent (“Time Tough”). One of his most popular and surprising songs was his reworking of John Denver’s nostalgic “(Take Me Home) Country Roads,” with the setting changed from West Virginia to a world Hibbert knew so well.\u003c/p>\n\u003cblockquote>\u003cp>Almost heaven, West Jamaica\u003cbr>\nTrue ridge mountains\u003cbr>\nShining down the river\u003cbr>\nAll my friends there\u003cbr>\nOlder than those ridge\u003cbr>\nYounger than the mountains\u003cbr>\nBlowin’ like a breeze\u003c/p>\u003c/blockquote>\n\u003cp>The Maytals began when ska was the most popular music on the island, continued to rise during the transition to the slowed down rocksteady and were at the very forefront of the faster, more danceable sound of the late ’60s. Their uptempo chant “Do the Reggay” is widely recognized as the song which gave reggae its name, even if the honor was unintended.\u003c/p>\n\u003cp>“If a girl didn’t look so nice or she wasn’t dressed properly, we used to say she was streggay. I was playing one day and I don’t know why but I started singing: ‘Do the reggay, do the reggay’ — it just stuck,” he told the Daily Star in 2012. “I might have stuck with calling it streggay if I’d thought longer. That’d be something — everyone dancing to streggay music.”\u003c/p>\n\u003cfigure id=\"attachment_13886212\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/TootsAlbums.jpg\" alt=\"Early moments for Toots and the Maytals' popularity included the albums 'Funky Kingston' (L) and the soundtrack to 'The Harder They Come' (R).\" width=\"1920\" height=\"932\" class=\"size-full wp-image-13886212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/TootsAlbums.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/TootsAlbums-800x388.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/TootsAlbums-1020x495.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/TootsAlbums-160x78.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/TootsAlbums-768x373.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/TootsAlbums-1536x746.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Early moments for Toots and the Maytals’ popularity included the albums ‘Funky Kingston’ (L) and the soundtrack to ‘The Harder They Come’ (R). \u003ccite>(Mango Records / Island Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As with other reggae stars, Hibbert’s following soared after the release of the landmark 1972 film \u003cem>The Harder They Come\u003c/em>, which starred Jimmy Cliff as a poor Jamaican who moves to Kingston and dreams of a career in music. The Jamaican production was a word of mouth hit in the U.S. and the soundtrack, often ranked among the greatest in movie history, included the Maytals’ “Pressure Drop” and “Sweet and Dandy.” Hibbert also appeared in the film, as himself, recording “Sweet and Dandy” in the studio while Cliff’s character looks on with awe. Around the same time, the Maytals signed with Island Records and released the acclaimed album \u003cem>Funky Kingston\u003c/em>, which the critic Lester Bangs called “the most exciting and diversified set of reggae tunes by a single artist yet released.” (The album would eventually come out in two different versions).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RA4R-WoM10A\u003c/p>\n\u003cp>By the mid-1970s, Keith Richards, John Lennon, Eric Clapton and countless other rock stars had become reggae fans and Hibbert would eventually record with some of them. A tribute album from 2004, the Grammy winning \u003cem>True Love\u003c/em>, included cameos by Richards, Bonnie Raitt, Ryan Adams and Jeff Beck. Hibbert also was the subject of a 2011 BBC documentary, \u003cem>Reggae Got Soul\u003c/em>, with Clapton, Richards and Willie Nelson among the commentators.\u003c/p>\n\u003cp>The Maytals originally were a vocal trio featuring Hibbert, Henry “Raleigh” Gordon and Nathaniel “Jerry” Mathias, with the group later adding such instrumentalists as bassist Jackie Jackson and drummer Paul Douglas. They broke up in the early 1980s, but the following decade Hibbert began working with a new lineup of Maytals.\u003c/p>\n\u003cp>Hibbert’s career was halted in 2013 after he sustained a head injury from a vodka bottle thrown during a concert in Richmond, Virginia, and suffered from headaches and depression. But by the end of the decade he was performing again and in 2020 he released another album, \u003cem>Got To Be Tough\u003c/em>, which included contributions from Ziggy Marley and Ringo Starr, whose son, Zak Starkey, served as co-producer.\u003c/p>\n\u003cfigure id=\"attachment_13886211\" class=\"wp-caption aligncenter\" style=\"max-width: 402px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Toots3.jpg\" alt=\"Toots Hibbert performs at the very first Outside Lands festival in San Francisco, in 2008.\" width=\"402\" height=\"602\" class=\"size-full wp-image-13886211\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Toots3.jpg 402w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Toots3-160x240.jpg 160w\" sizes=\"(max-width: 402px) 100vw, 402px\">\u003cfigcaption class=\"wp-caption-text\">Toots Hibbert performs at the very first Outside Lands festival in San Francisco, in 2008. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Grammy nominations for Hibbert included best reggae album of 2012 for \u003cem>Reggae Got Soul\u003c/em> and best reggae album of 2007 for \u003cem>Light Your Light\u003c/em>. Hibbert was ranked No. 71 on a Rolling Stone list, compiled in 2008, of the 100 greatest contemporary singers. In 2012, he received the Order of Distinction by the government of Jamaica for outstanding contribution to the country’s music.\u003c/p>\n\u003cp>Married to his wife, Doreen, for nearly 40 years, Hibbert had eight children, including the reggae performers Junior Hibbert and Leba Hibbert.\u003c/p>\n\u003cp>Frederick Nathaniel Hibbert (“Toots” was a childhood nickname) was born in May Pen, Parish of Clarendon. He was the son of Seventh-day Adventist ministers and would remember miles-long walks along dirt roads to schools, hours of singing in church and private moments listening to such American stars on the radio as Ray Charles and Elvis Presley.\u003c/p>\n\u003cp>By adolescence, his parents had died and he had moved to Trench Town in Kingston, where the local music scene was thriving, moving from street parties to recording studios and drawing such future stars as Bob Marley and Desmond Dekker. He formed the Maytals, named for his hometown, with fellow singers Matthias and Gordon, started working with Jamaican record producer Coxsone Dodd and quickly became the star of the national festival competition that started in 1966. The Maytals (eventually renamed Toots & the Maytals) won in the inaugural year with “Bam Bam,” prevailed in 1969 with “Sweet and Dandy” and 1972 with “Pomp and Pride.” Hibbert would joke that he thought it best to start skipping the festival because winning came so easily, although he returned in 2020 with the bright, inspirational “Rise Up Jamaica.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sharlene Hendricks contributed from Jamaica.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Toots Hibbert, one of reggae’s founders and most beloved stars who gave the music its name and later helped make it an international movement through such classics as “Pressure Drop,” “Monkey Man” and “Funky Kingston,” has died. He was 77.\u003c/p>\n\u003cp>Hibbert, frontman of Toots & the Maytals, had been in a medically-induced coma at a hospital in Kingston since earlier this month. He was admitted in intensive care after complaints of having breathing difficulties, according to his publicist. It was revealed in local media that the singer was awaiting results from a COVID-19 test after showing symptoms.\u003c/p>\n\u003cp>News of the five-time Grammy nominee’s ill-health came just weeks after his last known performance, on a national live-stream during Jamaica’s Emancipation and Independence celebrations in August.\u003c/p>\n\u003cp>A family statement said Hibbert died Friday at University Hospital of the West Indies in Kingston, Jamaica, surrounded by family.\u003c/p>\n\u003cp>Ziggy Marley, son of Bob Marley, tweeted about the death saying he spoke with Hibbert a few weeks ago and, “told him how much i loved him we laughed & shared our mutual respect,” adding, “He was a father figure to me.”\u003c/p>\n\u003cfigure id=\"attachment_13886210\" class=\"wp-caption aligncenter\" style=\"max-width: 402px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Toots.jpg\" alt=\"Toots Hibbert performs at the very first Outside Lands festival in San Francisco, in 2008.\" width=\"402\" height=\"602\" class=\"size-full wp-image-13886210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Toots.jpg 402w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Toots-160x240.jpg 160w\" sizes=\"(max-width: 402px) 100vw, 402px\">\u003cfigcaption class=\"wp-caption-text\">Toots Hibbert performs at the very first Outside Lands festival in San Francisco, in 2008. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A muscular ex-boxer, Hibbert was a bandleader, songwriter, multi-instrumentalist and showman whose concerts sometimes ended with dozens of audience members dancing with him on stage. He was also, in the opinion of many, reggae’s greatest singer, so deeply spiritual he could transform “Do re mi fa so la ti do” into a hymn. His raspy tenor, uncommonly warm and rough, was likened to the voice of Otis Redding and made him more accessible to American listeners than many reggae artists. Original songs such as “Funky Kingston” and “54-46 That’s My Number” had the emotion and call and response arrangements known to soul and gospel fans. Hibbert even recorded an album of American hits, \u003cem>Toots In Memphis\u003c/em>, which came out in 1988.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Never as immersed in politics as his friend and great contemporary Bob Marley, Hibbert did invoke heavenly justice in “Pressure Drop,” preach peace in “Revolution,” righteousness in “Bam Bam” and scorn his 1960s drug arrest and imprisonment in “54-46 That’s My Number.” He also captured, like few others, everyday life in Jamaica in the years following its independence from Britain in 1962, whether telling of wedding jitters (“Sweet and Dandy”) or of trying to pay the rent (“Time Tough”). One of his most popular and surprising songs was his reworking of John Denver’s nostalgic “(Take Me Home) Country Roads,” with the setting changed from West Virginia to a world Hibbert knew so well.\u003c/p>\n\u003cblockquote>\u003cp>Almost heaven, West Jamaica\u003cbr>\nTrue ridge mountains\u003cbr>\nShining down the river\u003cbr>\nAll my friends there\u003cbr>\nOlder than those ridge\u003cbr>\nYounger than the mountains\u003cbr>\nBlowin’ like a breeze\u003c/p>\u003c/blockquote>\n\u003cp>The Maytals began when ska was the most popular music on the island, continued to rise during the transition to the slowed down rocksteady and were at the very forefront of the faster, more danceable sound of the late ’60s. Their uptempo chant “Do the Reggay” is widely recognized as the song which gave reggae its name, even if the honor was unintended.\u003c/p>\n\u003cp>“If a girl didn’t look so nice or she wasn’t dressed properly, we used to say she was streggay. I was playing one day and I don’t know why but I started singing: ‘Do the reggay, do the reggay’ — it just stuck,” he told the Daily Star in 2012. “I might have stuck with calling it streggay if I’d thought longer. That’d be something — everyone dancing to streggay music.”\u003c/p>\n\u003cfigure id=\"attachment_13886212\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/TootsAlbums.jpg\" alt=\"Early moments for Toots and the Maytals' popularity included the albums 'Funky Kingston' (L) and the soundtrack to 'The Harder They Come' (R).\" width=\"1920\" height=\"932\" class=\"size-full wp-image-13886212\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/TootsAlbums.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/TootsAlbums-800x388.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/TootsAlbums-1020x495.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/TootsAlbums-160x78.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/TootsAlbums-768x373.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/TootsAlbums-1536x746.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Early moments for Toots and the Maytals’ popularity included the albums ‘Funky Kingston’ (L) and the soundtrack to ‘The Harder They Come’ (R). \u003ccite>(Mango Records / Island Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As with other reggae stars, Hibbert’s following soared after the release of the landmark 1972 film \u003cem>The Harder They Come\u003c/em>, which starred Jimmy Cliff as a poor Jamaican who moves to Kingston and dreams of a career in music. The Jamaican production was a word of mouth hit in the U.S. and the soundtrack, often ranked among the greatest in movie history, included the Maytals’ “Pressure Drop” and “Sweet and Dandy.” Hibbert also appeared in the film, as himself, recording “Sweet and Dandy” in the studio while Cliff’s character looks on with awe. Around the same time, the Maytals signed with Island Records and released the acclaimed album \u003cem>Funky Kingston\u003c/em>, which the critic Lester Bangs called “the most exciting and diversified set of reggae tunes by a single artist yet released.” (The album would eventually come out in two different versions).\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/RA4R-WoM10A'\n title='//www.youtube.com/embed/RA4R-WoM10A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>By the mid-1970s, Keith Richards, John Lennon, Eric Clapton and countless other rock stars had become reggae fans and Hibbert would eventually record with some of them. A tribute album from 2004, the Grammy winning \u003cem>True Love\u003c/em>, included cameos by Richards, Bonnie Raitt, Ryan Adams and Jeff Beck. Hibbert also was the subject of a 2011 BBC documentary, \u003cem>Reggae Got Soul\u003c/em>, with Clapton, Richards and Willie Nelson among the commentators.\u003c/p>\n\u003cp>The Maytals originally were a vocal trio featuring Hibbert, Henry “Raleigh” Gordon and Nathaniel “Jerry” Mathias, with the group later adding such instrumentalists as bassist Jackie Jackson and drummer Paul Douglas. They broke up in the early 1980s, but the following decade Hibbert began working with a new lineup of Maytals.\u003c/p>\n\u003cp>Hibbert’s career was halted in 2013 after he sustained a head injury from a vodka bottle thrown during a concert in Richmond, Virginia, and suffered from headaches and depression. But by the end of the decade he was performing again and in 2020 he released another album, \u003cem>Got To Be Tough\u003c/em>, which included contributions from Ziggy Marley and Ringo Starr, whose son, Zak Starkey, served as co-producer.\u003c/p>\n\u003cfigure id=\"attachment_13886211\" class=\"wp-caption aligncenter\" style=\"max-width: 402px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Toots3.jpg\" alt=\"Toots Hibbert performs at the very first Outside Lands festival in San Francisco, in 2008.\" width=\"402\" height=\"602\" class=\"size-full wp-image-13886211\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Toots3.jpg 402w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Toots3-160x240.jpg 160w\" sizes=\"(max-width: 402px) 100vw, 402px\">\u003cfigcaption class=\"wp-caption-text\">Toots Hibbert performs at the very first Outside Lands festival in San Francisco, in 2008. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Grammy nominations for Hibbert included best reggae album of 2012 for \u003cem>Reggae Got Soul\u003c/em> and best reggae album of 2007 for \u003cem>Light Your Light\u003c/em>. Hibbert was ranked No. 71 on a Rolling Stone list, compiled in 2008, of the 100 greatest contemporary singers. In 2012, he received the Order of Distinction by the government of Jamaica for outstanding contribution to the country’s music.\u003c/p>\n\u003cp>Married to his wife, Doreen, for nearly 40 years, Hibbert had eight children, including the reggae performers Junior Hibbert and Leba Hibbert.\u003c/p>\n\u003cp>Frederick Nathaniel Hibbert (“Toots” was a childhood nickname) was born in May Pen, Parish of Clarendon. He was the son of Seventh-day Adventist ministers and would remember miles-long walks along dirt roads to schools, hours of singing in church and private moments listening to such American stars on the radio as Ray Charles and Elvis Presley.\u003c/p>\n\u003cp>By adolescence, his parents had died and he had moved to Trench Town in Kingston, where the local music scene was thriving, moving from street parties to recording studios and drawing such future stars as Bob Marley and Desmond Dekker. He formed the Maytals, named for his hometown, with fellow singers Matthias and Gordon, started working with Jamaican record producer Coxsone Dodd and quickly became the star of the national festival competition that started in 1966. The Maytals (eventually renamed Toots & the Maytals) won in the inaugural year with “Bam Bam,” prevailed in 1969 with “Sweet and Dandy” and 1972 with “Pomp and Pride.” Hibbert would joke that he thought it best to start skipping the festival because winning came so easily, although he returned in 2020 with the bright, inspirational “Rise Up Jamaica.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When the Bay Area woke up this morning, the skies were deep orange. Some saw it as a sign of the apocalypse and went \u003ca href=\"https://twitter.com/Tony_Rotundo/status/1303757877090246656\" target=\"_blank\" rel=\"noopener noreferrer\">back to bed\u003c/a>. Others played \u003ca href=\"https://www.youtube.com/watch?v=AZKcl4-tcuo\" target=\"_blank\" rel=\"noopener noreferrer\">David Bowie\u003c/a> or watched \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=gCcx85zbxz4\" target=\"_blank\" rel=\"noopener noreferrer\">Blade Runner 2049\u003c/a>\u003c/em>. Just about everyone else took \u003ca href=\"https://twitter.com/search?q=%23orangesky&src=typed_query\" target=\"_blank\" rel=\"noopener noreferrer\">photos\u003c/a>.\u003c/p>\n\u003cp>And then there’s the group of surfers at Ocean Beach who said, “You know what? Let’s hit the waves.”\u003c/p>\n\u003cfigure id=\"attachment_13886050\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886050\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-1.png\" alt=\"A surfer heads to Ocean Beach in San Francisco under smoke-filled orange skies, on Sept. 9, 2020.\" width=\"1620\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-1.png 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-1-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-1-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-1-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-1-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-1-1536x1024.png 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">A surfer heads to Ocean Beach in San Francisco under smoke-filled orange skies, on Sept. 9, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>KQED photographer Beth LaBerge caught Matt Cowdrey, Mark Paiz and Kyle Ortega in action, surfing under red-orange skies caused by wildfires in Northern California and Oregon.\u003c/p>\n\u003cfigure id=\"attachment_13886047\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886047\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-4.png\" alt=\"Surfers head for the the waves of Ocean Beach in San Francisco under smoke-filled orange skies, on Sept. 9, 2020.\" width=\"1620\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-4.png 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-4-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-4-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-4-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-4-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-4-1536x1024.png 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">Surfers head for the the waves of Ocean Beach in San Francisco under smoke-filled orange skies, on Sept. 9, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These photos were taken at noon. It was a day like no other for Ocean Beach, the westernmost part of San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13886048\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-3.png\" alt=\"A surfer rides the waves of Ocean Beach in San Francisco under smoke-filled orange skies, on Sept. 9, 2020.\" width=\"1620\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-3.png 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-3-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-3-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-3-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-3-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-3-1536x1024.png 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">A surfer rides the waves of Ocean Beach in San Francisco under smoke-filled orange skies, on Sept. 9, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And a day that this group of surfers won’t ever forget.\u003c/p>\n\u003cfigure id=\"attachment_13886046\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886046\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-5.png\" alt=\"Surfers head for the the waves of Ocean Beach in San Francisco under smoke-filled orange skies, on Sept. 9, 2020.\" width=\"1620\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-5.png 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-5-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-5-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-5-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-5-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-5-1536x1024.png 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">Surfers head for the the waves of Ocean Beach in San Francisco under smoke-filled orange skies, on Sept. 9, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the Bay Area woke up this morning, the skies were deep orange. Some saw it as a sign of the apocalypse and went \u003ca href=\"https://twitter.com/Tony_Rotundo/status/1303757877090246656\" target=\"_blank\" rel=\"noopener noreferrer\">back to bed\u003c/a>. Others played \u003ca href=\"https://www.youtube.com/watch?v=AZKcl4-tcuo\" target=\"_blank\" rel=\"noopener noreferrer\">David Bowie\u003c/a> or watched \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=gCcx85zbxz4\" target=\"_blank\" rel=\"noopener noreferrer\">Blade Runner 2049\u003c/a>\u003c/em>. Just about everyone else took \u003ca href=\"https://twitter.com/search?q=%23orangesky&src=typed_query\" target=\"_blank\" rel=\"noopener noreferrer\">photos\u003c/a>.\u003c/p>\n\u003cp>And then there’s the group of surfers at Ocean Beach who said, “You know what? Let’s hit the waves.”\u003c/p>\n\u003cfigure id=\"attachment_13886050\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886050\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-1.png\" alt=\"A surfer heads to Ocean Beach in San Francisco under smoke-filled orange skies, on Sept. 9, 2020.\" width=\"1620\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-1.png 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-1-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-1-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-1-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-1-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-1-1536x1024.png 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">A surfer heads to Ocean Beach in San Francisco under smoke-filled orange skies, on Sept. 9, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>KQED photographer Beth LaBerge caught Matt Cowdrey, Mark Paiz and Kyle Ortega in action, surfing under red-orange skies caused by wildfires in Northern California and Oregon.\u003c/p>\n\u003cfigure id=\"attachment_13886047\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886047\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-4.png\" alt=\"Surfers head for the the waves of Ocean Beach in San Francisco under smoke-filled orange skies, on Sept. 9, 2020.\" width=\"1620\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-4.png 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-4-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-4-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-4-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-4-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-4-1536x1024.png 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">Surfers head for the the waves of Ocean Beach in San Francisco under smoke-filled orange skies, on Sept. 9, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These photos were taken at noon. It was a day like no other for Ocean Beach, the westernmost part of San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13886048\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-3.png\" alt=\"A surfer rides the waves of Ocean Beach in San Francisco under smoke-filled orange skies, on Sept. 9, 2020.\" width=\"1620\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-3.png 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-3-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-3-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-3-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-3-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-3-1536x1024.png 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">A surfer rides the waves of Ocean Beach in San Francisco under smoke-filled orange skies, on Sept. 9, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And a day that this group of surfers won’t ever forget.\u003c/p>\n\u003cfigure id=\"attachment_13886046\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886046\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-5.png\" alt=\"Surfers head for the the waves of Ocean Beach in San Francisco under smoke-filled orange skies, on Sept. 9, 2020.\" width=\"1620\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-5.png 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-5-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-5-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-5-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-5-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Beth-LaBerge-KQED-News-5-1536x1024.png 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">Surfers head for the the waves of Ocean Beach in San Francisco under smoke-filled orange skies, on Sept. 9, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\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\">T\u003c/span>he Velvet Bandit looks to the left, sizing up the street, and eyes a line of cars stopped at a red light in downtown Santa Rosa.\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>“Let’s wait for the light to change,” she says. “There looks like a lot of…”\u003c/p>\n\u003cp>“Naysayers?” her assistant asks.\u003c/p>\n\u003cp>“Yeah.”\u003c/p>\n\u003cp>Soon the light turns green, and the two speed-walk to their destination: an alcove of an abandoned building, highly visible, where thousands of people pass each day and a bright light shines at night.\u003c/p>\n\u003cp>Visibility is a risk for the Velvet Bandit, a street artist who doesn’t fit the stereotypical profile of a “street artist.” I can’t really tell you who the Velvet Bandit \u003cem>is\u003c/em>, exactly; she operates under cover of night, and placing her art on public and private walls is, technically, not legal. This much is known: she is a single mom living in Sonoma County, and before COVID hit, she worked as a cafeteria aide at a local school, preparing lunch for schoolchildren.\u003c/p>\n\u003cp>As we reach the alcove, I take note of a “No Trespassing” sign, and quietly alert the Velvet Bandit.\u003c/p>\n\u003cp>She keeps walking briskly, unconcerned, and in a small burst of freedom—from shelter-in-place, from our toxic political climate, from her day job—she quips: “Lunch ladies don’t give a \u003cem>fuuuuuucccckkk\u003c/em>!”\u003c/p>\n\u003cp>A minute later, the deal is done, and the wall bears a hand-painted image of Uncle Sam, wearing a face mask, with a simple message: “VOTE.”\u003c/p>\n\u003cp>The two women step back to assess the job. “Oh, yeah,” one says to the other. “Yeah. That looks \u003cem>awesome\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13885642\" class=\"wp-caption aligncenter\" style=\"max-width: 1830px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885642\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/VelvetBanditRail1.jpg\" alt=\"Artwork by the Velvet Bandit, made during shelter-in-place, addresses the chaos of 2020.\" width=\"1830\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail1.jpg 1830w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail1-800x262.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail1-1020x334.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail1-160x52.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail1-768x252.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail1-1536x504.jpg 1536w\" sizes=\"(max-width: 1830px) 100vw, 1830px\">\u003cfigcaption class=\"wp-caption-text\">Artwork by the Velvet Bandit, made during shelter-in-place, addresses the chaos of 2020. \u003ccite>(Courtesy the Velvet Bandit)\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> started to notice the Velvet Bandit’s colorful paintings a few months ago, wheat pasted to walls and poles, with their positive messages for the pandemic. At the start, they bore simple reminders, like “Stay Home” and “Wash Your Hands.” Then, while everyone waited for stimulus checks, I noticed one in my neighborhood of a woman holding a check, with the phrase “Mitch Better Have My Money.”\u003c/p>\n\u003cp>Later, people told me they’d seen her work in other cities too: as far north as Ukiah and Willits, and in Sonoma, Sebastopol and Petaluma. It evolved, also: her paintings have lately amplified messages of the Black Lives Matter movement and the need to save the Post Office. Most of them simply \u003ca href=\"https://www.instagram.com/p/CEmk93HFJJh/\" target=\"_blank\" rel=\"noopener noreferrer\">acknowledge the struggle\u003c/a>, for everyone, that is the year 2020.\u003c/p>\n\u003cp>So far, out in the streets at night, she and her assistant haven’t gotten caught—which is impressive, considering her work is prominent, colorful, and prolific.\u003c/p>\n\u003cp>“I always dreamed, like, ‘It’d be really cool to have this mom graffiti gang that goes around and puts these positive messages out,’” the lunch-lady-turned-street-artist tells me when we meet up on a recent weekend night.\u003c/p>\n\u003cp>In March, she says, like many, she was furloughed from her job. Shepard Fairey’s wheat-pasted art had been a longtime inspiration, and she’d kept a pile of newsprint in her studio, ready to paint. So, she says, “when I had nothing but my art supplies to keep me sane, it was the perfect opportunity.”\u003c/p>\n\u003cfigure id=\"attachment_13885645\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885645\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/VelvBandit.OK2020.jpg\" alt=\"The Velvet Bandit takes a photo of her work on a recent night in Santa Rosa. \" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvBandit.OK2020.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvBandit.OK2020-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvBandit.OK2020-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvBandit.OK2020-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvBandit.OK2020-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Velvet Bandit takes a photo of her work on a recent night in Santa Rosa. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Velvet Bandit has made about 600 pieces since, she estimates, putting up most of them in cities across the North Bay. Astonishingly, all of them have been painted individually, by hand. She tried making copies of her work like other street artists do, but “the vibrancy isn’t there,” she says.\u003c/p>\n\u003cp>So far, reaction to her work has been relatively positive. Rather than scraping her work from their walls, several area businesses owners have contacted her, either donating money or even requesting that she come put it up on their storefronts.\u003c/p>\n\u003cp>At the former Dollar Tree building in the Roseland district of Santa Rosa recently, a man came out and gruffly asked, “What are you doing? What agency are you from?”\u003c/p>\n\u003cp>She explained she was putting up art, and when he saw her work, he asked if she had any more. “And he said, ‘Put it around the whole building!’” she explains. “’And in fact, put it on those two taco trucks over there!’”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I witness the same reaction in person later, when I accompany her and her assistant around downtown. While they dip into the supplies stored in their inconspicuous purses, and paste a “REGISTER + VOTE” painting in an alley, a man and a woman walk by. The woman points. For a flash of a second, I think we’re busted.\u003c/p>\n\u003cp>“Oh, look!” she says, pleasantly. “We’re getting a mural!”\u003c/p>\n\u003cfigure id=\"attachment_13885643\" class=\"wp-caption aligncenter\" style=\"max-width: 1819px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885643\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/VelvetBanditRail2.jpg\" alt=\"The Velvet Bandit's work touches on a variety of social issues during a tumultuous year. \" width=\"1819\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail2.jpg 1819w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail2-800x263.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail2-1020x336.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail2-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail2-768x253.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail2-1536x506.jpg 1536w\" sizes=\"(max-width: 1819px) 100vw, 1819px\">\u003cfigcaption class=\"wp-caption-text\">The Velvet Bandit’s work touches on a variety of social issues during a tumultuous year. \u003ccite>(Courtesy the Velvet Bandit)\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\">P\u003c/span>ublic art is always a source of debate, but it reached high temperature in Santa Rosa last month when a \u003ca href=\"https://www.pressdemocrat.com/article/news/white-hand-sculpture-painted-black-outside-santa-rosa-mall/\" target=\"_blank\" rel=\"noopener noreferrer\">giant marble hand in front of the mall\u003c/a> was painted black by Black Lives Matter activists. On one side of the issue, people argued that one should never vandalize art, and that the artist had intended the giant white hand to honor the region’s farmworkers. On the other side, people, mostly young, argued that the entire concept of public art should progress beyond staid marble sculptures that stay in place for 30 years and lose their relevance.\u003c/p>\n\u003cp>The Velvet Bandit wants public art to be “more fun.” She knows the city often looks for artists to participate in sanctioned art projects, “but it just seems like a lot of work to fill out an application,” she says. The idea of having to outline a project and its goals beforehand is cumbersome, too: “I just like to do it as I go, and not put too much thought into it.”\u003c/p>\n\u003cp>What about grants, or the money she could get from the city for art? “Maybe I’ll warm up to that idea,” she says. “But I get a thrill out of the fact that I’m not \u003cem>supposed\u003c/em> to be doing it.”\u003c/p>\n\u003cp>At any rate, the Velvet Bandit has goals beyond mere recognition. She truly does want people to wear masks, and to take COVID seriously. She wants Trump out of office. She wants people to register to vote. She wants people to take care of themselves, and each other; the very first artwork posted to \u003ca href=\"https://www.instagram.com/thevelvetbandit/\" target=\"_blank\" rel=\"noopener noreferrer\">her Instagram\u003c/a> reads, simply, “Free Hugs.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13885652\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/VelvetBandit.FISTGIF.gif\" alt=\"\" width=\"600\" height=\"600\">\u003c/p>\n\u003cp>Later, when she puts up a trio of raised fists in the center of town in Courthouse Square, I notice just how quickly and discreetly the Velvet Bandit works. In just half an hour, she and her assistant have pasted nearly 20 pieces downtown. Two dozen or so people mingle around the square, which is itself surrounded by plenty of chatty, unmasked outdoor diners. A man walks by with a stroller. A woman listens to Sheryl Crow nearby in her parked blue Hyundai. No one seems to notice us.\u003c/p>\n\u003cp>It’s then that I realize: why would they? The year 2020 has been such a turbulent mess. The news is a rollercoaster, everything changes quickly, hope is illusory and our attention spans are mush. And in that way, the \u003ca href=\"https://en.wikipedia.org/wiki/The_medium_is_the_message\" target=\"_blank\" rel=\"noopener noreferrer\">medium is the message\u003c/a>—the Velvet Bandit’s quickly changing, here-today-gone-tomorrow wheat pastes match this chaotic year, and simultaneously, they’re a liberating change from overthinking everything.\u003c/p>\n\u003cp>“Because all of this work is fleeting, and I don’t know the lifespan of it, I don’t get hung up,” she says. “If it works, it works. And if it doesn’t, whatever. Who cares? It’s all gonna get taken down anyway.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Find more at the Velvet Bandit’s \u003ca href=\"https://www.thevelvetbandit.com/\" target=\"_blank\" rel=\"noopener noreferrer\">website\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\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\">T\u003c/span>he Velvet Bandit looks to the left, sizing up the street, and eyes a line of cars stopped at a red light in downtown Santa Rosa.\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>“Let’s wait for the light to change,” she says. “There looks like a lot of…”\u003c/p>\n\u003cp>“Naysayers?” her assistant asks.\u003c/p>\n\u003cp>“Yeah.”\u003c/p>\n\u003cp>Soon the light turns green, and the two speed-walk to their destination: an alcove of an abandoned building, highly visible, where thousands of people pass each day and a bright light shines at night.\u003c/p>\n\u003cp>Visibility is a risk for the Velvet Bandit, a street artist who doesn’t fit the stereotypical profile of a “street artist.” I can’t really tell you who the Velvet Bandit \u003cem>is\u003c/em>, exactly; she operates under cover of night, and placing her art on public and private walls is, technically, not legal. This much is known: she is a single mom living in Sonoma County, and before COVID hit, she worked as a cafeteria aide at a local school, preparing lunch for schoolchildren.\u003c/p>\n\u003cp>As we reach the alcove, I take note of a “No Trespassing” sign, and quietly alert the Velvet Bandit.\u003c/p>\n\u003cp>She keeps walking briskly, unconcerned, and in a small burst of freedom—from shelter-in-place, from our toxic political climate, from her day job—she quips: “Lunch ladies don’t give a \u003cem>fuuuuuucccckkk\u003c/em>!”\u003c/p>\n\u003cp>A minute later, the deal is done, and the wall bears a hand-painted image of Uncle Sam, wearing a face mask, with a simple message: “VOTE.”\u003c/p>\n\u003cp>The two women step back to assess the job. “Oh, yeah,” one says to the other. “Yeah. That looks \u003cem>awesome\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13885642\" class=\"wp-caption aligncenter\" style=\"max-width: 1830px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885642\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/VelvetBanditRail1.jpg\" alt=\"Artwork by the Velvet Bandit, made during shelter-in-place, addresses the chaos of 2020.\" width=\"1830\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail1.jpg 1830w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail1-800x262.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail1-1020x334.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail1-160x52.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail1-768x252.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail1-1536x504.jpg 1536w\" sizes=\"(max-width: 1830px) 100vw, 1830px\">\u003cfigcaption class=\"wp-caption-text\">Artwork by the Velvet Bandit, made during shelter-in-place, addresses the chaos of 2020. \u003ccite>(Courtesy the Velvet Bandit)\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> started to notice the Velvet Bandit’s colorful paintings a few months ago, wheat pasted to walls and poles, with their positive messages for the pandemic. At the start, they bore simple reminders, like “Stay Home” and “Wash Your Hands.” Then, while everyone waited for stimulus checks, I noticed one in my neighborhood of a woman holding a check, with the phrase “Mitch Better Have My Money.”\u003c/p>\n\u003cp>Later, people told me they’d seen her work in other cities too: as far north as Ukiah and Willits, and in Sonoma, Sebastopol and Petaluma. It evolved, also: her paintings have lately amplified messages of the Black Lives Matter movement and the need to save the Post Office. Most of them simply \u003ca href=\"https://www.instagram.com/p/CEmk93HFJJh/\" target=\"_blank\" rel=\"noopener noreferrer\">acknowledge the struggle\u003c/a>, for everyone, that is the year 2020.\u003c/p>\n\u003cp>So far, out in the streets at night, she and her assistant haven’t gotten caught—which is impressive, considering her work is prominent, colorful, and prolific.\u003c/p>\n\u003cp>“I always dreamed, like, ‘It’d be really cool to have this mom graffiti gang that goes around and puts these positive messages out,’” the lunch-lady-turned-street-artist tells me when we meet up on a recent weekend night.\u003c/p>\n\u003cp>In March, she says, like many, she was furloughed from her job. Shepard Fairey’s wheat-pasted art had been a longtime inspiration, and she’d kept a pile of newsprint in her studio, ready to paint. So, she says, “when I had nothing but my art supplies to keep me sane, it was the perfect opportunity.”\u003c/p>\n\u003cfigure id=\"attachment_13885645\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885645\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/VelvBandit.OK2020.jpg\" alt=\"The Velvet Bandit takes a photo of her work on a recent night in Santa Rosa. \" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvBandit.OK2020.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvBandit.OK2020-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvBandit.OK2020-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvBandit.OK2020-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvBandit.OK2020-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Velvet Bandit takes a photo of her work on a recent night in Santa Rosa. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Velvet Bandit has made about 600 pieces since, she estimates, putting up most of them in cities across the North Bay. Astonishingly, all of them have been painted individually, by hand. She tried making copies of her work like other street artists do, but “the vibrancy isn’t there,” she says.\u003c/p>\n\u003cp>So far, reaction to her work has been relatively positive. Rather than scraping her work from their walls, several area businesses owners have contacted her, either donating money or even requesting that she come put it up on their storefronts.\u003c/p>\n\u003cp>At the former Dollar Tree building in the Roseland district of Santa Rosa recently, a man came out and gruffly asked, “What are you doing? What agency are you from?”\u003c/p>\n\u003cp>She explained she was putting up art, and when he saw her work, he asked if she had any more. “And he said, ‘Put it around the whole building!’” she explains. “’And in fact, put it on those two taco trucks over there!’”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I witness the same reaction in person later, when I accompany her and her assistant around downtown. While they dip into the supplies stored in their inconspicuous purses, and paste a “REGISTER + VOTE” painting in an alley, a man and a woman walk by. The woman points. For a flash of a second, I think we’re busted.\u003c/p>\n\u003cp>“Oh, look!” she says, pleasantly. “We’re getting a mural!”\u003c/p>\n\u003cfigure id=\"attachment_13885643\" class=\"wp-caption aligncenter\" style=\"max-width: 1819px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885643\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/VelvetBanditRail2.jpg\" alt=\"The Velvet Bandit's work touches on a variety of social issues during a tumultuous year. \" width=\"1819\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail2.jpg 1819w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail2-800x263.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail2-1020x336.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail2-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail2-768x253.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/VelvetBanditRail2-1536x506.jpg 1536w\" sizes=\"(max-width: 1819px) 100vw, 1819px\">\u003cfigcaption class=\"wp-caption-text\">The Velvet Bandit’s work touches on a variety of social issues during a tumultuous year. \u003ccite>(Courtesy the Velvet Bandit)\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\">P\u003c/span>ublic art is always a source of debate, but it reached high temperature in Santa Rosa last month when a \u003ca href=\"https://www.pressdemocrat.com/article/news/white-hand-sculpture-painted-black-outside-santa-rosa-mall/\" target=\"_blank\" rel=\"noopener noreferrer\">giant marble hand in front of the mall\u003c/a> was painted black by Black Lives Matter activists. On one side of the issue, people argued that one should never vandalize art, and that the artist had intended the giant white hand to honor the region’s farmworkers. On the other side, people, mostly young, argued that the entire concept of public art should progress beyond staid marble sculptures that stay in place for 30 years and lose their relevance.\u003c/p>\n\u003cp>The Velvet Bandit wants public art to be “more fun.” She knows the city often looks for artists to participate in sanctioned art projects, “but it just seems like a lot of work to fill out an application,” she says. The idea of having to outline a project and its goals beforehand is cumbersome, too: “I just like to do it as I go, and not put too much thought into it.”\u003c/p>\n\u003cp>What about grants, or the money she could get from the city for art? “Maybe I’ll warm up to that idea,” she says. “But I get a thrill out of the fact that I’m not \u003cem>supposed\u003c/em> to be doing it.”\u003c/p>\n\u003cp>At any rate, the Velvet Bandit has goals beyond mere recognition. She truly does want people to wear masks, and to take COVID seriously. She wants Trump out of office. She wants people to register to vote. She wants people to take care of themselves, and each other; the very first artwork posted to \u003ca href=\"https://www.instagram.com/thevelvetbandit/\" target=\"_blank\" rel=\"noopener noreferrer\">her Instagram\u003c/a> reads, simply, “Free Hugs.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13885652\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/VelvetBandit.FISTGIF.gif\" alt=\"\" width=\"600\" height=\"600\">\u003c/p>\n\u003cp>Later, when she puts up a trio of raised fists in the center of town in Courthouse Square, I notice just how quickly and discreetly the Velvet Bandit works. In just half an hour, she and her assistant have pasted nearly 20 pieces downtown. Two dozen or so people mingle around the square, which is itself surrounded by plenty of chatty, unmasked outdoor diners. A man walks by with a stroller. A woman listens to Sheryl Crow nearby in her parked blue Hyundai. No one seems to notice us.\u003c/p>\n\u003cp>It’s then that I realize: why would they? The year 2020 has been such a turbulent mess. The news is a rollercoaster, everything changes quickly, hope is illusory and our attention spans are mush. And in that way, the \u003ca href=\"https://en.wikipedia.org/wiki/The_medium_is_the_message\" target=\"_blank\" rel=\"noopener noreferrer\">medium is the message\u003c/a>—the Velvet Bandit’s quickly changing, here-today-gone-tomorrow wheat pastes match this chaotic year, and simultaneously, they’re a liberating change from overthinking everything.\u003c/p>\n\u003cp>“Because all of this work is fleeting, and I don’t know the lifespan of it, I don’t get hung up,” she says. “If it works, it works. And if it doesn’t, whatever. Who cares? It’s all gonna get taken down anyway.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Find more at the Velvet Bandit’s \u003ca href=\"https://www.thevelvetbandit.com/\" target=\"_blank\" rel=\"noopener noreferrer\">website\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Marcus Shelby Named New Artistic Director of Healdsburg Jazz Festival, Replacing Jessica Felix",
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"content": "\u003cp>Marcus Shelby, the composer, bandleader and bassist whose projects often intersect with politics and social issues, has been named the new artistic director of the Healdsburg Jazz Festival.\u003c/p>\n\u003cp>Shelby replaces festival founder Jessica Felix, who announced her retirement in early August after 22 years.\u003c/p>\n\u003cp>“Jessica did an incredible job building the Healdsburg Jazz Festival with first-class talent, including national and local artists,” Shelby said in a statement. “She never dumbed down the programming to get more people to come. I’m looking forward to expanding her extraordinary legacy and also develop a fresh vision that reflects my interests and strengths.”\u003c/p>\n\u003cp>https://youtu.be/CwOZkMm3uGc\u003c/p>\n\u003cp>Indeed, Felix was such a passionate supporter of jazz that, 10 years ago, when the board of directors \u003ca href=\"http://citysound.bohemian.com/2010/07/29/healdsburg-jazz-festival-postponed-jessica-felix-ousted/\" target=\"_blank\" rel=\"noopener noreferrer\">removed her\u003c/a> in an effort to steer the festival toward more commercial programming, the outcry from musicians and fans was so great that she was soon \u003ca href=\"http://citysound.bohemian.com/tag/jessica-felix/\" target=\"_blank\" rel=\"noopener noreferrer\">reinstated\u003c/a>.\u003c/p>\n\u003cp>But now, the lifelong jazz fan who got her start hosting living room concerts in her East Bay home said, “it’s time to be in the audience.”\u003c/p>\n\u003cp>A woefully incomplete list of the artists who have performed at the festival includes Pharoah Sanders, Charlie Haden, Bobby Hutcherson, Jackie McLean, Ravi Coltrane, Kenny Burrell, Esperanza Spalding, McCoy Tyner, Jack DeJohnette, Geri Allen, Randy Weston and Billy Hart. It also served as a launch pad for Julian Lage, the famed jazz guitarist who was just a local 12-year-old when he first performed at the festival with Charles Lloyd.\u003c/p>\n\u003cfigure id=\"attachment_13885600\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885600\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999-800x628.jpg\" alt=\"Jessica Felix with drummer Billy Higgins during the 1999 Healdsburg Jazz Festival.\" width=\"800\" height=\"628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999-800x628.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999-1020x800.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999-768x602.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999-1536x1205.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Felix with drummer Billy Higgins during the 1999 Healdsburg Jazz Festival. \u003ccite>(Courtesy Healdsburg Jazz Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s hard to imagine a better successor for the festival than Shelby, who has worked with Felix for the past decade, frequently performing at the festival and developing special programming for local schools and choirs as part of its education and community outreach programs.\u003c/p>\n\u003cp>“He’s done a lot up here already and everybody loves him,” Felix said.\u003c/p>\n\u003cp>Shelby is also a composer-in-residence with the Yerba Buena Gardens Festival, a longtime collaborator and one-time artist-in-residence at SFJAZZ, and a teacher at the San Francisco Community Music Center. He was appointed to the San Francisco Arts Commission in 2014, where he still serves.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As a composer and bassist, Shelby’s recent musical projects have covered such social issues as the school-to-prison pipeline, and historical figures such as Harriet Tubman and Martin Luther King, Jr. In 2018, he \u003ca href=\"https://www.kqed.org/arts/13856830/sfjazz-resident-artistic-director-marcus-shelby-explores-blues-black-feminism-and-baseball\" target=\"_blank\" rel=\"noopener noreferrer\">premiered\u003c/a> \u003cem>Black Ball: The Negro Leagues and the Blues\u003c/em> in San Francisco.\u003c/p>\n\u003cp>Shelby knows he has big shoes to fill.\u003c/p>\n\u003cp>“I realize you can’t book everybody,” he said. “I’m really committed to making the most diverse festival possible, with the highest degree of talent. That’s always going to be my goal.”\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Marcus Shelby, the composer, bandleader and bassist whose projects often intersect with politics and social issues, has been named the new artistic director of the Healdsburg Jazz Festival.\u003c/p>\n\u003cp>Shelby replaces festival founder Jessica Felix, who announced her retirement in early August after 22 years.\u003c/p>\n\u003cp>“Jessica did an incredible job building the Healdsburg Jazz Festival with first-class talent, including national and local artists,” Shelby said in a statement. “She never dumbed down the programming to get more people to come. I’m looking forward to expanding her extraordinary legacy and also develop a fresh vision that reflects my interests and strengths.”\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/CwOZkMm3uGc'\n title='//www.youtube.com/embed/CwOZkMm3uGc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Indeed, Felix was such a passionate supporter of jazz that, 10 years ago, when the board of directors \u003ca href=\"http://citysound.bohemian.com/2010/07/29/healdsburg-jazz-festival-postponed-jessica-felix-ousted/\" target=\"_blank\" rel=\"noopener noreferrer\">removed her\u003c/a> in an effort to steer the festival toward more commercial programming, the outcry from musicians and fans was so great that she was soon \u003ca href=\"http://citysound.bohemian.com/tag/jessica-felix/\" target=\"_blank\" rel=\"noopener noreferrer\">reinstated\u003c/a>.\u003c/p>\n\u003cp>But now, the lifelong jazz fan who got her start hosting living room concerts in her East Bay home said, “it’s time to be in the audience.”\u003c/p>\n\u003cp>A woefully incomplete list of the artists who have performed at the festival includes Pharoah Sanders, Charlie Haden, Bobby Hutcherson, Jackie McLean, Ravi Coltrane, Kenny Burrell, Esperanza Spalding, McCoy Tyner, Jack DeJohnette, Geri Allen, Randy Weston and Billy Hart. It also served as a launch pad for Julian Lage, the famed jazz guitarist who was just a local 12-year-old when he first performed at the festival with Charles Lloyd.\u003c/p>\n\u003cfigure id=\"attachment_13885600\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885600\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999-800x628.jpg\" alt=\"Jessica Felix with drummer Billy Higgins during the 1999 Healdsburg Jazz Festival.\" width=\"800\" height=\"628\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999-800x628.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999-1020x800.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999-768x602.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999-1536x1205.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Jessica-with-Billy-Higgins-1999.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Felix with drummer Billy Higgins during the 1999 Healdsburg Jazz Festival. \u003ccite>(Courtesy Healdsburg Jazz Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s hard to imagine a better successor for the festival than Shelby, who has worked with Felix for the past decade, frequently performing at the festival and developing special programming for local schools and choirs as part of its education and community outreach programs.\u003c/p>\n\u003cp>“He’s done a lot up here already and everybody loves him,” Felix said.\u003c/p>\n\u003cp>Shelby is also a composer-in-residence with the Yerba Buena Gardens Festival, a longtime collaborator and one-time artist-in-residence at SFJAZZ, and a teacher at the San Francisco Community Music Center. He was appointed to the San Francisco Arts Commission in 2014, where he still serves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As a composer and bassist, Shelby’s recent musical projects have covered such social issues as the school-to-prison pipeline, and historical figures such as Harriet Tubman and Martin Luther King, Jr. In 2018, he \u003ca href=\"https://www.kqed.org/arts/13856830/sfjazz-resident-artistic-director-marcus-shelby-explores-blues-black-feminism-and-baseball\" target=\"_blank\" rel=\"noopener noreferrer\">premiered\u003c/a> \u003cem>Black Ball: The Negro Leagues and the Blues\u003c/em> in San Francisco.\u003c/p>\n\u003cp>Shelby knows he has big shoes to fill.\u003c/p>\n\u003cp>“I realize you can’t book everybody,” he said. “I’m really committed to making the most diverse festival possible, with the highest degree of talent. That’s always going to be my goal.”\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "March on Washington 2020 Draws Thousands of Peaceful Protesters",
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"content": "\u003cp>Today, to mark the 57th anniversary of 1963’s iconic March on Washington for Jobs and Freedom, thousands are once again marching through the nation’s capital to protest racial injustice.\u003c/p>\n\u003cp>The \u003ca href=\"https://nationalactionnetwork.net/commitment-march-get-your-knee-off-our-necks/\" target=\"_blank\" rel=\"noopener noreferrer\">Commitment March: Get Your Knee Off Our Necks\u003c/a> was first announced by Reverend Al Sharpton at George Floyd’s funeral in June. Sharpton organized the march alongside the National Action Network and \u003ca href=\"https://twitter.com/Phil_Lewis_/status/1299379253050519556\" target=\"_blank\" rel=\"noopener noreferrer\">arrived with the family of Breonna Taylor\u003c/a>. The families of Floyd, Jacob Blake, Trayvon Martin, Ahmaud Arbery and Botham Jean are also in attendance. Today also marks the 65th anniversary of \u003ca href=\"https://www.history.com/this-day-in-history/the-death-of-emmett-till\" target=\"_blank\" rel=\"noopener noreferrer\">Emmett Till’s murder\u003c/a>.\u003c/p>\n\u003cp>Protesters started gathering at the Lincoln Memorial at 7am ET and speeches began a few hours later. The march later moved towards the Martin Luther King memorial—only fitting for the anniversary of his “\u003ca href=\"https://www.kqed.org/arts/13819256/tell-em-about-the-dream-kronos-quartet-explores-moment-mlk-went-off-script\" target=\"_blank\" rel=\"noopener noreferrer\">I Have a Dream\u003c/a>” speech. Martin Luther King III was also in attendance, calling on marchers to “become the heroes of the history we are making.”\u003c/p>\n\u003cp>https://www.instagram.com/p/CEckhpfgKKM/\u003c/p>\n\u003cp>In a separate speech, Martin Luther King’s granddaughter Yolanda Renee King took an optimistic tone. “We are going to be the generation that dismantles systemic racism once and for all, now and forever,” she said. “We stand and march for love, and we will fulfill my grandfather’s dream.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Temperature checks and mask regulations were in effect this morning.\u003c/p>\n\u003cp>https://twitter.com/ABC7Kristen/status/1299329796145545217\u003c/p>\n\u003cp>Jacob Blake’s father—whose own father marched in ’63—captured the momentum behind the march in his speech. “There are two systems of justice in the United States,” he told the crowd. His son is currently recovering in a hospital from seven gunshot wounds fired by a Kenosha police officer. “There’s a white system and there’s a Black system. The Black system ain’t doing so well. Every Black person in the United States is going to stand up. We’re tired!”\u003c/p>\n\u003cp>Images of the march are now emerging on social media. People and social justice groups from all over the country are in attendance, including some from the Bay Area.\u003c/p>\n\u003cp>https://www.instagram.com/p/CEcaHi7AJZU/\u003c/p>\n\u003cp>https://twitter.com/Mocraig13/status/1299429916920950786\u003c/p>\n\u003cp>https://www.instagram.com/p/CEcb5SJDolw/\u003c/p>\n\u003cp>https://twitter.com/Phil_Lewis_/status/1299342302419222532\u003c/p>\n\u003cp>https://www.instagram.com/p/CEcRlBQApCM/\u003c/p>\n\u003cp>https://twitter.com/Cpatrickis/status/1299329296591400960\u003c/p>\n\u003cp>https://www.instagram.com/p/CEcnKnqHWFJ/\u003c/p>\n\u003cp>https://twitter.com/dont4getthesun/status/1299416922400993281\u003c/p>\n\u003cp>https://www.instagram.com/p/CEccookJarp/\u003c/p>\n\u003cp>https://twitter.com/BGOnTheScene/status/1299463231610683397\u003c/p>\n\u003cp>The Black National Convention begins \u003ca href=\"https://blacknovember.org/\" target=\"_blank\" rel=\"noopener noreferrer\">streaming\u003c/a> at 6pm. Highlights from today’s protests, keynote speeches and musical performances will stream as part of the \u003ca href=\"https://2020march.com/watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Virtual March on Washington\u003c/a>, starting at 9pm.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.instagram.com/p/CEcfrKth1Tb/\u003c/p>\n\n",
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"title": "'Tired Of The Killings': Pro Athletes Refuse To Play To Protest Racial Injustice",
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"content": "\u003cp>Professional sports teams in several leagues have taken their most dramatic steps yet in an effort to raise awareness about social justice issues.\u003c/p>\n\u003cp>On Wednesday, the NBA’s Milwaukee Bucks decided not to play their playoff game against the Orlando Magic to protest Sunday’s police shooting of Jacob Blake, a Black man in Wisconsin. Following the Bucks’ decision, the NBA announced all three playoff games scheduled for Wednesday were postponed.\u003c/p>\n\u003cp>According to the league, those three games, including the Houston Rockets vs. Oklahoma City Thunder and Los Angeles Lakers vs. Portland Trailblazers, will be rescheduled.\u003c/p>\n\u003cp>After the NBA’s announcement, the dominoes started to fall.\u003c/p>\n\u003cp>In Major League Baseball, three games were postponed. Another Wisconsin team led the way—the Milwaukee Brewers called off their home game against the Cincinnati Reds.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We need to pause and reflect on the events that are causing such pain and hardship to our local community and country,” the Brewers said in a \u003ca href=\"https://twitter.com/Brewers/status/1298782231717195776/photo/1\">statement\u003c/a>. “The entire organization is committed to putting the spotlight on racial injustice, inequality, and the necessity for change.”\u003c/p>\n\u003cp>The Seattle Mariners, a team reportedly with the \u003ca href=\"https://twitter.com/JeffPassan/status/1298744234644828161\">most black players\u003c/a> in the majors, decided not to play San Diego on Wednesday, saying the team stands “with our players as they speak out with their words and actions against social injustice.”\u003c/p>\n\u003cp>The Los Angeles Dodgers and San Francisco Giants also postponed their game.\u003c/p>\n\u003cp>The WNBA postponed its three-game schedule Wednesday night. Major League Soccer called off five games.\u003c/p>\n\u003cp>\u003cstrong>Tired and demanding change \u003c/strong>\u003c/p>\n\u003cp>It all started with the Bucks. The top team in the Eastern Conference was scheduled to play Orlando in Game 5 of their first-round playoff series. The Bucks lead 3-1. Orlando took the court to warm up, but the Bucks didn’t. Soon it became apparent the Milwaukee players weren’t going to come out. The basketballs were put away. The referees left the court.\u003c/p>\n\u003cp>Guard George Hill told Marc Spears of ESPN’s The Undefeated, the Bucks weren’t playing in light of the shooting of Jacob Blake on Sunday. Blake survived, but his family says he was paralyzed after being repeatedly shot in the back while trying to climb into the driver’s side of a vehicle.\u003c/p>\n\u003cp>“We’re tired of the killings and the injustice,” Hill said.\u003c/p>\n\u003cp>The NBA’s most prominent player, LeBron James, was scheduled to play Wednesday with his Los Angeles Lakers hoping to clinch their first-round series against Portland.\u003c/p>\n\u003cp>James, with 47 million Twitter followers, spoke for many athletes when he tweeted an expletive, and then this: “WE DEMAND CHANGE. SICK OF IT.”\u003c/p>\n\u003cp>The day after Blake was shot by police, the Bucks’ Hill echoed another growing sentiment felt by some players—frustration about living in the NBA’s pandemic-protected environment, referred to as the bubble, near Orlando, Fla. [aside postid='arts_13885235']\u003c/p>\n\u003cp>“We can’t do anything,” Hill said in an interview. “First of all, we shouldn’t even came to this damn place, to be honest. I think coming here just took all the focal points off of what the issues are.”\u003c/p>\n\u003cp>That was a concern of some players before they arrived in Florida in early July. Those who’d taken part in nationwide demonstrations against police violence and social inequality following the death of George Floyd, or who’d spoken out on those issues, felt the strength of their messages might be lost as games started and connections to the outside world shrank.\u003c/p>\n\u003cp>In the aftermath of Blake’s shooting, the frustration grew.\u003c/p>\n\u003cp>The bubble has been filled with reminders of social injustice—Black Lives Matter is written on the basketball courts. Most players and coaches are kneeling in protest during the playing of the national anthem and are wearing jerseys and shirts with messages like I Am A Man, Education and How Many More?\u003c/p>\n\u003cp>Toronto Raptors guard Norman Powell was one of those questioning these well-intentioned displays.\u003c/p>\n\u003cp>“Taking a knee for the anthem, that’s not getting the job done,” Powell said. “That’s getting washed out. Something has to happen where you’re forcing these people who can make the change to do something.”\u003c/p>\n\u003cp>The Bucks followed their decision with a \u003ca href=\"https://twitter.com/Bucks/status/1298763794986995718\">statement\u003c/a> aimed at forcing that change.\u003c/p>\n\u003cp>Hill and teammate Sterling Brown read it to reporters.\u003c/p>\n\u003cp>“The past four months have shed a light on the ongoing racial injustices facing our African American communities. Citizens around the country have used their voices and platforms to speak out against these wrongdoings. Over the last few days, in our home state of Wisconsin, we’ve seen the horrendous video of Jacob Blake being shot in the back seven times by a police officer in Kenosha and the additional shooting of protesters. Despite the overwhelming plea for change, there has been no action, so our focus today cannot be on basketball. [aside postid='arts_13884294']\u003c/p>\n\u003cp>“When we take the court and represent Milwaukee and Wisconsin, we are expected to play at a high level, give maximum effort and hold each other accountable. We hold each other to that standard, and in this moment we are demanding the same from lawmakers and law enforcement. We are calling for justice for Jacob Blake and demand for the officers to be held accountable. For this to occur, it is imperative for the Wisconsin state legislature to reconvene after months of inaction and take up meaningful measures to address issues of police accountability, brutality and criminal justice reform. We encourage all citizens to educate themselves, take peaceful and responsible action and remember to vote on Nov. 3.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Reportedly, the NBA Board of Governors is scheduled to meet Thursday morning to discuss next steps inside the bubble. There was talk the league may cancel the rest of the season. But according to Chris Haynes, a senior NBA Insider for Yahoo Sports, “a sizable amount of players [are] advocating to finish the season out since sacrifices were made to enter the bubble, believing the NBA platform is a useful resource in this social climate.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Tired+Of+The+Killings%27%3A+Pro+Athletes+Refuse+To+Play+To+Protest+Racial+Injustice&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Professional sports teams in several leagues have taken their most dramatic steps yet in an effort to raise awareness about social justice issues.\u003c/p>\n\u003cp>On Wednesday, the NBA’s Milwaukee Bucks decided not to play their playoff game against the Orlando Magic to protest Sunday’s police shooting of Jacob Blake, a Black man in Wisconsin. Following the Bucks’ decision, the NBA announced all three playoff games scheduled for Wednesday were postponed.\u003c/p>\n\u003cp>According to the league, those three games, including the Houston Rockets vs. Oklahoma City Thunder and Los Angeles Lakers vs. Portland Trailblazers, will be rescheduled.\u003c/p>\n\u003cp>After the NBA’s announcement, the dominoes started to fall.\u003c/p>\n\u003cp>In Major League Baseball, three games were postponed. Another Wisconsin team led the way—the Milwaukee Brewers called off their home game against the Cincinnati Reds.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We need to pause and reflect on the events that are causing such pain and hardship to our local community and country,” the Brewers said in a \u003ca href=\"https://twitter.com/Brewers/status/1298782231717195776/photo/1\">statement\u003c/a>. “The entire organization is committed to putting the spotlight on racial injustice, inequality, and the necessity for change.”\u003c/p>\n\u003cp>The Seattle Mariners, a team reportedly with the \u003ca href=\"https://twitter.com/JeffPassan/status/1298744234644828161\">most black players\u003c/a> in the majors, decided not to play San Diego on Wednesday, saying the team stands “with our players as they speak out with their words and actions against social injustice.”\u003c/p>\n\u003cp>The Los Angeles Dodgers and San Francisco Giants also postponed their game.\u003c/p>\n\u003cp>The WNBA postponed its three-game schedule Wednesday night. Major League Soccer called off five games.\u003c/p>\n\u003cp>\u003cstrong>Tired and demanding change \u003c/strong>\u003c/p>\n\u003cp>It all started with the Bucks. The top team in the Eastern Conference was scheduled to play Orlando in Game 5 of their first-round playoff series. The Bucks lead 3-1. Orlando took the court to warm up, but the Bucks didn’t. Soon it became apparent the Milwaukee players weren’t going to come out. The basketballs were put away. The referees left the court.\u003c/p>\n\u003cp>Guard George Hill told Marc Spears of ESPN’s The Undefeated, the Bucks weren’t playing in light of the shooting of Jacob Blake on Sunday. Blake survived, but his family says he was paralyzed after being repeatedly shot in the back while trying to climb into the driver’s side of a vehicle.\u003c/p>\n\u003cp>“We’re tired of the killings and the injustice,” Hill said.\u003c/p>\n\u003cp>The NBA’s most prominent player, LeBron James, was scheduled to play Wednesday with his Los Angeles Lakers hoping to clinch their first-round series against Portland.\u003c/p>\n\u003cp>James, with 47 million Twitter followers, spoke for many athletes when he tweeted an expletive, and then this: “WE DEMAND CHANGE. SICK OF IT.”\u003c/p>\n\u003cp>The day after Blake was shot by police, the Bucks’ Hill echoed another growing sentiment felt by some players—frustration about living in the NBA’s pandemic-protected environment, referred to as the bubble, near Orlando, Fla. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We can’t do anything,” Hill said in an interview. “First of all, we shouldn’t even came to this damn place, to be honest. I think coming here just took all the focal points off of what the issues are.”\u003c/p>\n\u003cp>That was a concern of some players before they arrived in Florida in early July. Those who’d taken part in nationwide demonstrations against police violence and social inequality following the death of George Floyd, or who’d spoken out on those issues, felt the strength of their messages might be lost as games started and connections to the outside world shrank.\u003c/p>\n\u003cp>In the aftermath of Blake’s shooting, the frustration grew.\u003c/p>\n\u003cp>The bubble has been filled with reminders of social injustice—Black Lives Matter is written on the basketball courts. Most players and coaches are kneeling in protest during the playing of the national anthem and are wearing jerseys and shirts with messages like I Am A Man, Education and How Many More?\u003c/p>\n\u003cp>Toronto Raptors guard Norman Powell was one of those questioning these well-intentioned displays.\u003c/p>\n\u003cp>“Taking a knee for the anthem, that’s not getting the job done,” Powell said. “That’s getting washed out. Something has to happen where you’re forcing these people who can make the change to do something.”\u003c/p>\n\u003cp>The Bucks followed their decision with a \u003ca href=\"https://twitter.com/Bucks/status/1298763794986995718\">statement\u003c/a> aimed at forcing that change.\u003c/p>\n\u003cp>Hill and teammate Sterling Brown read it to reporters.\u003c/p>\n\u003cp>“The past four months have shed a light on the ongoing racial injustices facing our African American communities. Citizens around the country have used their voices and platforms to speak out against these wrongdoings. Over the last few days, in our home state of Wisconsin, we’ve seen the horrendous video of Jacob Blake being shot in the back seven times by a police officer in Kenosha and the additional shooting of protesters. Despite the overwhelming plea for change, there has been no action, so our focus today cannot be on basketball. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When we take the court and represent Milwaukee and Wisconsin, we are expected to play at a high level, give maximum effort and hold each other accountable. We hold each other to that standard, and in this moment we are demanding the same from lawmakers and law enforcement. We are calling for justice for Jacob Blake and demand for the officers to be held accountable. For this to occur, it is imperative for the Wisconsin state legislature to reconvene after months of inaction and take up meaningful measures to address issues of police accountability, brutality and criminal justice reform. We encourage all citizens to educate themselves, take peaceful and responsible action and remember to vote on Nov. 3.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Reportedly, the NBA Board of Governors is scheduled to meet Thursday morning to discuss next steps inside the bubble. There was talk the league may cancel the rest of the season. But according to Chris Haynes, a senior NBA Insider for Yahoo Sports, “a sizable amount of players [are] advocating to finish the season out since sacrifices were made to enter the bubble, believing the NBA platform is a useful resource in this social climate.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Tired+Of+The+Killings%27%3A+Pro+Athletes+Refuse+To+Play+To+Protest+Racial+Injustice&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Hit Hard by Pandemic, Youth of Color are Leading Activism, New Poll Finds",
"headTitle": "Hit Hard by Pandemic, Youth of Color are Leading Activism, New Poll Finds | KQED",
"content": "\u003cp>Like many young people in California, UC Berkeley sophomore Racquel Richardson has had to deal with \u003cem>a lot\u003c/em> in 2020.\u003c/p>\n\u003cp>When her campus transitioned to distance learning she moved back home with her mom in Oakland. Then, she had to pack again—this time, to help her mother relocate to the East Coast in search of more affordable housing. Richardson is staying behind and looking for her own place, but she can’t exactly ask other family members for financial help: her dad and grandmother’s business, a hair salon, is currently closed because of the pandemic. And other responsibilities keep stacking up, including helping her young siblings transition to distance learning while she keeps up with her own online classes.\u003c/p>\n\u003cp>Even with all these difficulties, Richardson has stayed politically active, marching alongside protestors to demand police accountability and racial justice throughout the summer. She’s not alone. \u003ca href=\"https://www.berkeleyside.com/2020/06/02/how-oakland-students-got-15000-people-to-march-against-police-violence-on-monday\" target=\"_blank\" rel=\"noopener noreferrer\">Activists\u003c/a> in their teens and 20s have had an outsized role in the latest wave of the Black Lives Matter movement. And \u003ca href=\"https://powercalifornia.org/2020-youth-poll\" target=\"_blank\" rel=\"noopener noreferrer\">a new poll of youth voters of color from the nonprofit Power California\u003c/a> reveals that they’re bearing the brunt of the pandemic’s economic downturn while leading the charge in civic engagement.\u003c/p>\n\u003cp>The results of the poll indicate that many young people of color have fallen through the gaps in California’s pandemic response; 46% answered that they live in a household that has struggled to afford food, medicine and other basic necessities. “It’s a lot of profit-over-people mentality,” says Richardson, citing a lack of support for renters and small business owners. “It’s not ‘get people better so that the community can flourish’—it’s so people can get back to work.” [aside postid='arts_13884771']\u003c/p>\n\u003cp>As the country gears up for the November election and candidates seek to entice young, diverse voters to the polls, the Power California survey sheds light on this particular demographic’s struggles and concerns, as well as their political priorities. Based on a sample of 1,509 voters, ages 18–29 from all over California, it offers nuanced statistics on youth voters of Black, Asian American, Pacific Islander and Latinx descent, rather than lumping people of color together as a monolith.\u003c/p>\n\u003cfigure id=\"attachment_13885367\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885367\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/TylerOkeke-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TylerOkeke-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TylerOkeke-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TylerOkeke-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TylerOkeke-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TylerOkeke-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TylerOkeke-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TylerOkeke-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Power California organizer Tyler Okeke at an action in Los Angeles. \u003ccite>(Power California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“[The poll] kind of validates the experiences that we’re already feeling,” says Tyler Okeke, an organizer with Power California, who’s from Los Angeles and studies public policy at the University of Chicago. “When students across the country were told to go back to homes that might not exist, going back to economic situations and living situations that weren’t really stable, people were panicking—how will I feed myself? These are needs that need to be addressed if young people are going to emerge from this strong and surviving.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Power California poll reveals that 35% of respondents lost their jobs during the pandemic, while 47% had their hours or pay cut. 48% of respondents work outside the home, highlighting the major role young people of color play in the essential workforce.\u003c/p>\n\u003cp>Even while enduring these financial difficulties, young people and their families are organizing mutual aid efforts. “A lot of support is local support,” says 18-year-old Los Angeles activist Kelsey Hernandez, who is part of the organization \u003ca href=\"https://www.innercitystruggle.org/\" target=\"_blank\" rel=\"noopener noreferrer\">InnerCity Struggle\u003c/a>. According to the poll, 67% of young people don’t feel the state is doing enough in its pandemic response. They rated income, food, medicine and rent and mortgage relief as the top areas of concern. [aside postid='arts_13885083']\u003c/p>\n\u003cp>Hernandez put plans to attend UC Santa Cruz on hold to help care for her siblings and nephews while her mom and sister go to work in an elder care facility. Her dad, who is undocumented, is currently out of work and ineligible for government aid. “We set up donation centers,” she adds. “We set up where students can get their school supplies. It’s not these big companies that the government puts so much money into.” [aside postid='arts_13881996']\u003c/p>\n\u003cp>Even amid the struggles of the pandemic, the survey shows that young voters want to see legislation that promotes racial justice above all else. The Black, Latinx and Asian American respondents all rated stopping police brutality against Black Americans as their highest political priority, above coronavirus aid. That’s likely because 49% of Black respondents, 29% of Latinx respondents and 18% of Asian American respondents said that they or someone they know have had a negative encounter with police.\u003c/p>\n\u003cfigure id=\"attachment_13885370\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885370\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Screen-Shot-2020-08-26-at-12.39.13-PM-800x727.png\" alt=\"\" width=\"800\" height=\"727\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-26-at-12.39.13-PM-800x727.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-26-at-12.39.13-PM-160x145.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-26-at-12.39.13-PM-768x698.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-26-at-12.39.13-PM.png 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Power California’s poll of youth voters shows that they consider racial justice a top issue. \u003ccite>(Power California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“These are issues we’ve been facing since before this pandemic,” says Eugene Vang, a UC San Diego student originally from Merced who is part of Power California’s Central Valley social justice campaign, 99 Rootz. He spent his last year in high school registering peers to vote, and he’s heartened by the fact that 47% of survey respondents said they’ll definitely vote in November, and that 80% said it was more important to participate now than in 2016.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Young people are stepping up,” says Vang, “and educating our family members that these are our needs and we need to demand for it.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Like many young people in California, UC Berkeley sophomore Racquel Richardson has had to deal with \u003cem>a lot\u003c/em> in 2020.\u003c/p>\n\u003cp>When her campus transitioned to distance learning she moved back home with her mom in Oakland. Then, she had to pack again—this time, to help her mother relocate to the East Coast in search of more affordable housing. Richardson is staying behind and looking for her own place, but she can’t exactly ask other family members for financial help: her dad and grandmother’s business, a hair salon, is currently closed because of the pandemic. And other responsibilities keep stacking up, including helping her young siblings transition to distance learning while she keeps up with her own online classes.\u003c/p>\n\u003cp>Even with all these difficulties, Richardson has stayed politically active, marching alongside protestors to demand police accountability and racial justice throughout the summer. She’s not alone. \u003ca href=\"https://www.berkeleyside.com/2020/06/02/how-oakland-students-got-15000-people-to-march-against-police-violence-on-monday\" target=\"_blank\" rel=\"noopener noreferrer\">Activists\u003c/a> in their teens and 20s have had an outsized role in the latest wave of the Black Lives Matter movement. And \u003ca href=\"https://powercalifornia.org/2020-youth-poll\" target=\"_blank\" rel=\"noopener noreferrer\">a new poll of youth voters of color from the nonprofit Power California\u003c/a> reveals that they’re bearing the brunt of the pandemic’s economic downturn while leading the charge in civic engagement.\u003c/p>\n\u003cp>The results of the poll indicate that many young people of color have fallen through the gaps in California’s pandemic response; 46% answered that they live in a household that has struggled to afford food, medicine and other basic necessities. “It’s a lot of profit-over-people mentality,” says Richardson, citing a lack of support for renters and small business owners. “It’s not ‘get people better so that the community can flourish’—it’s so people can get back to work.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the country gears up for the November election and candidates seek to entice young, diverse voters to the polls, the Power California survey sheds light on this particular demographic’s struggles and concerns, as well as their political priorities. Based on a sample of 1,509 voters, ages 18–29 from all over California, it offers nuanced statistics on youth voters of Black, Asian American, Pacific Islander and Latinx descent, rather than lumping people of color together as a monolith.\u003c/p>\n\u003cfigure id=\"attachment_13885367\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885367\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/TylerOkeke-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TylerOkeke-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TylerOkeke-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TylerOkeke-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TylerOkeke-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TylerOkeke-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TylerOkeke-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/TylerOkeke-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Power California organizer Tyler Okeke at an action in Los Angeles. \u003ccite>(Power California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“[The poll] kind of validates the experiences that we’re already feeling,” says Tyler Okeke, an organizer with Power California, who’s from Los Angeles and studies public policy at the University of Chicago. “When students across the country were told to go back to homes that might not exist, going back to economic situations and living situations that weren’t really stable, people were panicking—how will I feed myself? These are needs that need to be addressed if young people are going to emerge from this strong and surviving.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Power California poll reveals that 35% of respondents lost their jobs during the pandemic, while 47% had their hours or pay cut. 48% of respondents work outside the home, highlighting the major role young people of color play in the essential workforce.\u003c/p>\n\u003cp>Even while enduring these financial difficulties, young people and their families are organizing mutual aid efforts. “A lot of support is local support,” says 18-year-old Los Angeles activist Kelsey Hernandez, who is part of the organization \u003ca href=\"https://www.innercitystruggle.org/\" target=\"_blank\" rel=\"noopener noreferrer\">InnerCity Struggle\u003c/a>. According to the poll, 67% of young people don’t feel the state is doing enough in its pandemic response. They rated income, food, medicine and rent and mortgage relief as the top areas of concern. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even amid the struggles of the pandemic, the survey shows that young voters want to see legislation that promotes racial justice above all else. The Black, Latinx and Asian American respondents all rated stopping police brutality against Black Americans as their highest political priority, above coronavirus aid. That’s likely because 49% of Black respondents, 29% of Latinx respondents and 18% of Asian American respondents said that they or someone they know have had a negative encounter with police.\u003c/p>\n\u003cfigure id=\"attachment_13885370\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885370\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Screen-Shot-2020-08-26-at-12.39.13-PM-800x727.png\" alt=\"\" width=\"800\" height=\"727\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-26-at-12.39.13-PM-800x727.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-26-at-12.39.13-PM-160x145.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-26-at-12.39.13-PM-768x698.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-26-at-12.39.13-PM.png 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Power California’s poll of youth voters shows that they consider racial justice a top issue. \u003ccite>(Power California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“These are issues we’ve been facing since before this pandemic,” says Eugene Vang, a UC San Diego student originally from Merced who is part of Power California’s Central Valley social justice campaign, 99 Rootz. He spent his last year in high school registering peers to vote, and he’s heartened by the fact that 47% of survey respondents said they’ll definitely vote in November, and that 80% said it was more important to participate now than in 2016.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Young people are stepping up,” says Vang, “and educating our family members that these are our needs and we need to demand for it.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>[dropcap]O[/dropcap]n Nov. 8, 1911, Clara Elizabeth Chan Lee put on her finest hat, went to the southeast corner of Lake Merritt, and entered the imposing facade of the Alameda County Courthouse. By her side was her husband Charles, her friend Emma Tom Leung, and Leung’s husband. Women had won voting rights in California just one month earlier, and now Lee and Leung were about to make history. They were the first Chinese-American women to register to vote in the United States.\u003c/p>\n\u003cp>After the registration papers were signed under the watchful eye of Assistant County Clerk W. B. Reith, Lee took little time to celebrate. Her work on behalf of Chinese-American women was only just beginning, and her community still had many metaphorical mountains to climb. Still, this was a historic first step—one that seemed impossible just a few years earlier. [aside postid='arts_13880286']\u003c/p>\n\u003cp>At the dawn of the 20th century, women of Asian descent living in the Bay Area faced barriers of both sexism and racism. The former was exacerbated by Chinatown’s ongoing issues with sex trafficking and slavery, which served to impose demeaning stereotypes on Asian women. And the latter was effectively endorsed by the highest echelons of the American government: 1875’s \u003ca href=\"https://en.wikipedia.org/wiki/Page_Act_of_1875\" target=\"_blank\" rel=\"noopener noreferrer\">Page Act\u003c/a> excluded Chinese women from immigrating to the United States; and 1882’s \u003ca href=\"https://en.wikipedia.org/wiki/Chinese_Exclusion_Act\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Exclusion Act\u003c/a> blocked Chinese laborers from entering the country.\u003c/p>\n\u003cp>Lee’s efforts to raise the stature of Chinese women continued the work of others who came before her. One particularly significant event occurred in 1903, when a teacher named Mai Zhouyi spoke at Chinatown’s Presbyterian Church. Lee was still a teenager at the time.\u003c/p>\n\u003cp>Zhouyi articulated the experience of many Chinese citizens attempting to immigrate to the United States when she told a congregation of 1,500 men and women—both Asian and white—of the horrors she endured at San Francisco’s wharf. Having traveled from Canton to reunite with her restaurateur husband in New York, Zhouyi was unable to leave the docks for over 40 days. Despite her husband’s stature as a businessman, the local authorities insisted he be classified as a laborer, thereby blocking her entrance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Zhouyi was held in an unsanitary two-story shack while her attorneys fought her case in federal court. She was released only after she became too sick to stay in detention. Before leaving for Canada to apply for an American teacher’s visa, and hopefully gain entry to the U.S., she told the Chinatown congregation:\u003c/p>\n\u003cblockquote>\u003cp>I saw five Chinese ships arrive one after another … Only we Chinese were not allowed to see or talk to our loved ones … Even the cargo was picked up from the docks and delivered to its destination … How can it be that they look upon us as animals? As less than cargo? Do they think we Chinese are not made of flesh and blood? That we don’t have souls?\u003c/p>\u003c/blockquote>\n\u003cp>Zhouyi went on to suggest that only through education and better treatment for girls and women would the Chinese raise their stature in American eyes.\u003c/p>\n\u003cblockquote>\u003cp>Sisters, don’t say that educating women serves no purpose for home and country … If the women of today will make the effort to learn … then, when the time comes, they will be able to educate their children, from whose ranks talented people will surely come … There is a saying, ‘Wisdom is the root cause of a country’s prosperity.’\u003c/p>\u003c/blockquote>\n\u003cp>[dropcap]T[/dropcap]hese were values that Clara Lee came to embrace wholeheartedly. Less than two years after becoming the first Asian-American woman to register to vote, Lee started Lü-Mei-Zhongguo Nüjie Zilihui—the Chinese Women’s Jeleab (Self-Reliance) Association. The organization saw education as key to acquiring freedom, independence and respect. Its incorporation papers, filed at the \u003ca href=\"https://en.wikipedia.org/wiki/California_State_Capitol\" target=\"_blank\" rel=\"noopener noreferrer\">State Capitol\u003c/a>, declared the group’s purpose as: “social intercourse, benevolent work, educational advantages, and mutual assistance and benefit.”\u003c/p>\n\u003cp>The association distinguished itself by being staunchly independent, even avoiding any religious affiliation—deeply unusual for clubs of the era. Instead, it modeled itself after the Chinese Native Sons of the Golden State. (While the Native Sons organization prohibited female membership until 1973, it did make its Oakland headquarters available for the Jeleab Association to hold meetings.) Additionally, Lee’s group was not shy about using newspapers to spread its message.[aside postid='arts_13883630']\u003c/p>\n\u003cp>On Sept. 22, 1913, the Jeleab Association published a manifesto of sorts in the \u003cem>Sai Gai Yat Po\u003c/em> (\u003cem>Chinese World\u003c/em>) newspaper. “How can men … presume to be superior to women, trampling them underfoot, humiliating them, and making them serve men’s every whim?” it queried. “Before one can be self-reliant, one must have education … If we women are to become independent, we must form a large group so that we can cull and share ideas and benefit from each other … Our goal is to cultivate self-reliance in each of us and furthermore, to promote and propagate this concept in China, so as to strip away the black curtain that has blocked women’s view of the sky for thousands of years.”\u003c/p>\n\u003cp>Education remained a core focus of the group for the entirety of its existence. It offered women classes in literacy (taught by a Baptist minister’s wife named Mrs. T. L. Lee) as well as lessons in American sewing patterns.\u003c/p>\n\u003cp>On Feb. 8, 1914, after membership had swelled to over 200 women, both immigrants and American-born, the \u003cem>San Francisco Examiner\u003c/em> declared the Jeleab Association “The Most Unique Club in America.” The article gave prominent space to Lee as the association’s founding president.\u003c/p>\n\u003cfigure id=\"attachment_13884918\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884918\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Examiner-800x512.png\" alt=\"The Chinese Women’s Jeleab Association, as featured in the San Francisco Examiner on Feb. 8, 1914. Clara Lee is pictured in the top left. The headline reads: ‘The Most Unique Club in America, A Club of Chinese Women!’\" width=\"800\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Examiner-800x512.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Examiner-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Examiner-768x492.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Examiner.png 859w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Chinese Women’s Jeleab Association, as featured in the San Francisco Examiner on Feb. 8, 1914. Clara Lee is pictured in the top left. The headline reads: ‘The Most Unique Club in America, A Club of Chinese Women!’ \u003ccite>(San Francisco Examiner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite its successes, the Chinese Women’s Jeleab Association lasted only a few years; Lee later noted that geographical challenges became an impediment to getting women together for meetings. Its decision to disband did nothing, however, to discourage the women’s ongoing fight for education and independence. Most simply joined other clubs in its place.\u003c/p>\n\u003cp>Lee herself joined the Chinese YWCA, established in 1916, as well as the \u003ca href=\"https://www.newspapers.com/clip/9944840/fidelis-coterie/\" target=\"_blank\" rel=\"noopener noreferrer\">Fidelis Coterie\u003c/a>, a philanthropic Chinese women’s club. She also became a member of the \u003ca href=\"https://iibayarea.org/\" target=\"_blank\" rel=\"noopener noreferrer\">International Institute\u003c/a>, which continues to help “immigrants, refugees, and their families join and contribute to the community” today.\u003c/p>\n\u003cp>Lee would spend the rest of her life assisting others, performing volunteer work to benefit both women and the Bay Area’s Chinese community. And that was a lot of years of dedication—Clara Lee died in 1993, at the age of 107. Her spirit endures in the generations of women who have continued her legacy: self-reliance over servitude.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>For stories on other Rebel Girls from Bay Area History, click \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>A book celebrating women from the Rebel Girls series, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">‘Unsung Heroines: 35 Women Who Changed the Bay Area,’\u003c/a> is available now from City Lights.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">O\u003c/span>\u003c/p>\u003cp>n Nov. 8, 1911, Clara Elizabeth Chan Lee put on her finest hat, went to the southeast corner of Lake Merritt, and entered the imposing facade of the Alameda County Courthouse. By her side was her husband Charles, her friend Emma Tom Leung, and Leung’s husband. Women had won voting rights in California just one month earlier, and now Lee and Leung were about to make history. They were the first Chinese-American women to register to vote in the United States.\u003c/p>\n\u003cp>After the registration papers were signed under the watchful eye of Assistant County Clerk W. B. Reith, Lee took little time to celebrate. Her work on behalf of Chinese-American women was only just beginning, and her community still had many metaphorical mountains to climb. Still, this was a historic first step—one that seemed impossible just a few years earlier. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the dawn of the 20th century, women of Asian descent living in the Bay Area faced barriers of both sexism and racism. The former was exacerbated by Chinatown’s ongoing issues with sex trafficking and slavery, which served to impose demeaning stereotypes on Asian women. And the latter was effectively endorsed by the highest echelons of the American government: 1875’s \u003ca href=\"https://en.wikipedia.org/wiki/Page_Act_of_1875\" target=\"_blank\" rel=\"noopener noreferrer\">Page Act\u003c/a> excluded Chinese women from immigrating to the United States; and 1882’s \u003ca href=\"https://en.wikipedia.org/wiki/Chinese_Exclusion_Act\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Exclusion Act\u003c/a> blocked Chinese laborers from entering the country.\u003c/p>\n\u003cp>Lee’s efforts to raise the stature of Chinese women continued the work of others who came before her. One particularly significant event occurred in 1903, when a teacher named Mai Zhouyi spoke at Chinatown’s Presbyterian Church. Lee was still a teenager at the time.\u003c/p>\n\u003cp>Zhouyi articulated the experience of many Chinese citizens attempting to immigrate to the United States when she told a congregation of 1,500 men and women—both Asian and white—of the horrors she endured at San Francisco’s wharf. Having traveled from Canton to reunite with her restaurateur husband in New York, Zhouyi was unable to leave the docks for over 40 days. Despite her husband’s stature as a businessman, the local authorities insisted he be classified as a laborer, thereby blocking her entrance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Zhouyi was held in an unsanitary two-story shack while her attorneys fought her case in federal court. She was released only after she became too sick to stay in detention. Before leaving for Canada to apply for an American teacher’s visa, and hopefully gain entry to the U.S., she told the Chinatown congregation:\u003c/p>\n\u003cblockquote>\u003cp>I saw five Chinese ships arrive one after another … Only we Chinese were not allowed to see or talk to our loved ones … Even the cargo was picked up from the docks and delivered to its destination … How can it be that they look upon us as animals? As less than cargo? Do they think we Chinese are not made of flesh and blood? That we don’t have souls?\u003c/p>\u003c/blockquote>\n\u003cp>Zhouyi went on to suggest that only through education and better treatment for girls and women would the Chinese raise their stature in American eyes.\u003c/p>\n\u003cblockquote>\u003cp>Sisters, don’t say that educating women serves no purpose for home and country … If the women of today will make the effort to learn … then, when the time comes, they will be able to educate their children, from whose ranks talented people will surely come … There is a saying, ‘Wisdom is the root cause of a country’s prosperity.’\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>hese were values that Clara Lee came to embrace wholeheartedly. Less than two years after becoming the first Asian-American woman to register to vote, Lee started Lü-Mei-Zhongguo Nüjie Zilihui—the Chinese Women’s Jeleab (Self-Reliance) Association. The organization saw education as key to acquiring freedom, independence and respect. Its incorporation papers, filed at the \u003ca href=\"https://en.wikipedia.org/wiki/California_State_Capitol\" target=\"_blank\" rel=\"noopener noreferrer\">State Capitol\u003c/a>, declared the group’s purpose as: “social intercourse, benevolent work, educational advantages, and mutual assistance and benefit.”\u003c/p>\n\u003cp>The association distinguished itself by being staunchly independent, even avoiding any religious affiliation—deeply unusual for clubs of the era. Instead, it modeled itself after the Chinese Native Sons of the Golden State. (While the Native Sons organization prohibited female membership until 1973, it did make its Oakland headquarters available for the Jeleab Association to hold meetings.) Additionally, Lee’s group was not shy about using newspapers to spread its message.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Sept. 22, 1913, the Jeleab Association published a manifesto of sorts in the \u003cem>Sai Gai Yat Po\u003c/em> (\u003cem>Chinese World\u003c/em>) newspaper. “How can men … presume to be superior to women, trampling them underfoot, humiliating them, and making them serve men’s every whim?” it queried. “Before one can be self-reliant, one must have education … If we women are to become independent, we must form a large group so that we can cull and share ideas and benefit from each other … Our goal is to cultivate self-reliance in each of us and furthermore, to promote and propagate this concept in China, so as to strip away the black curtain that has blocked women’s view of the sky for thousands of years.”\u003c/p>\n\u003cp>Education remained a core focus of the group for the entirety of its existence. It offered women classes in literacy (taught by a Baptist minister’s wife named Mrs. T. L. Lee) as well as lessons in American sewing patterns.\u003c/p>\n\u003cp>On Feb. 8, 1914, after membership had swelled to over 200 women, both immigrants and American-born, the \u003cem>San Francisco Examiner\u003c/em> declared the Jeleab Association “The Most Unique Club in America.” The article gave prominent space to Lee as the association’s founding president.\u003c/p>\n\u003cfigure id=\"attachment_13884918\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884918\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Examiner-800x512.png\" alt=\"The Chinese Women’s Jeleab Association, as featured in the San Francisco Examiner on Feb. 8, 1914. Clara Lee is pictured in the top left. The headline reads: ‘The Most Unique Club in America, A Club of Chinese Women!’\" width=\"800\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Examiner-800x512.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Examiner-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Examiner-768x492.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Examiner.png 859w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Chinese Women’s Jeleab Association, as featured in the San Francisco Examiner on Feb. 8, 1914. Clara Lee is pictured in the top left. The headline reads: ‘The Most Unique Club in America, A Club of Chinese Women!’ \u003ccite>(San Francisco Examiner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite its successes, the Chinese Women’s Jeleab Association lasted only a few years; Lee later noted that geographical challenges became an impediment to getting women together for meetings. Its decision to disband did nothing, however, to discourage the women’s ongoing fight for education and independence. Most simply joined other clubs in its place.\u003c/p>\n\u003cp>Lee herself joined the Chinese YWCA, established in 1916, as well as the \u003ca href=\"https://www.newspapers.com/clip/9944840/fidelis-coterie/\" target=\"_blank\" rel=\"noopener noreferrer\">Fidelis Coterie\u003c/a>, a philanthropic Chinese women’s club. She also became a member of the \u003ca href=\"https://iibayarea.org/\" target=\"_blank\" rel=\"noopener noreferrer\">International Institute\u003c/a>, which continues to help “immigrants, refugees, and their families join and contribute to the community” today.\u003c/p>\n\u003cp>Lee would spend the rest of her life assisting others, performing volunteer work to benefit both women and the Bay Area’s Chinese community. And that was a lot of years of dedication—Clara Lee died in 1993, at the age of 107. Her spirit endures in the generations of women who have continued her legacy: self-reliance over servitude.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>For stories on other Rebel Girls from Bay Area History, click \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "SF Announces $12.8 Million in Grants for Arts and Culture Organizations",
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"content": "\u003cp>San Francisco Mayor London Breed announced $12.8 million in grants to 227 arts and culture organizations throughout the city on Wednesday.\u003c/p>\n\u003cp>The funding comes from the city’s \u003ca href=\"https://sfgfta.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Grants for the Arts\u003c/a> (GFTA) program. Unlike the majority of arts grants, it is designed to cover day-to-day operating expenses.\u003c/p>\n\u003cp>Grantees range from small companies like AfroSolo, which received $10,000 in GFTA funding, to major institutions like the San Francisco Opera, with its $600,000 grant. (A full list of grantees \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/GFTA-FY21-Grants-Final-1.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">can be viewed here [PDF]\u003c/a>.)\u003c/p>\n\u003cp>Although the more substantial grants have been dispersed, as usual, to the largest and most entrenched organizations, these organizations are seeing slight losses in funding this year. The San Francisco Museum of Modern Art’s grant fell from $423,190 to $400,00 since 2019; the San Francisco Ballet’s from $428,890 to $400,000; and the San Francisco Opera’s from $680,000 to $600,000.\u003c/p>\n\u003cp>Conversely, many of the smaller, equity-focused community organizations are seeing an increase in 2020. Examples include the San Francisco Juneteenth Celebration, whose grant grew from $20,000 to $25,000; Project Level, up from $7,500 to $20,000; and the Transgender Film Festival, which was bumped up from $15,000 to $18,750.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And even though the total pot of money is down around $140,000 over last year, the available funds are being spread more widely, as there are seven more grantees this year. Those include the Clarion Alley Mural Project, Dancing Earth Creation, Art With Elders, the Festival of Latin American Contemporary Choreographers, Kultivate Labs, San Francisco Women Artists, and Youth Art Exchange.\u003c/p>\n\u003cp>City Administrator Naomi Kelly says these adjustments are strategic.\u003c/p>\n\u003cp>“We had a really deep dive into those organizations who tried to look at racial and ethnic equity lines in particular this year, such as the African-American community and the transgender community,” says Kelly. “We wanted to make sure that we are supporting those organizations that have been disproportionately impacted through COVID-19.”\u003c/p>\n\u003cp>At a time when so many cultural organizations have been forced to close their doors permanently or temporarily, or drastically reduce their operations owing to the coronavirus pandemic, such help from the city is a lifeline.\u003c/p>\n\u003cp>“It’s the only operating grant money that we receive,” says Suzanne Cervantes, founding executive director of \u003ca href=\"http://www.precitaeyes.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Precita Eyes Muralists\u003c/a>, a public art education nonprofit based in the Mission District. The company saw a slight increase in GFTA funding from $45,490 in 2019 to $46,350 this year. “So it makes a big difference,” adds Cervantes. “It helps pay for utilities and rent, as well as administrative costs like marketing and website management.”\u003c/p>\n\u003cp>GFTA funding, a portion of which comes from hotel tax revenues, has been in existence since 1961. But starting in the early 2000s, owing to financial issues, the city gradually reduced its arts budget, ultimately repealing the specific allocation altogether in 2013. In 2018, San Francisco residents \u003ca href=\"https://www.kqed.org/news/11704700/s-f-voters-say-yes-to-restoring-hotel-tax-funding-for-arts-and-culture\" target=\"_blank\" rel=\"noopener noreferrer\">approved a ballot measure, Proposition E\u003c/a>, to restore the funding. Since then, 1.5% of the base hotel tax — a 14% tax levied on hotel stays in the city — has been dedicated to supporting arts and culture programs in San Francisco.\u003c/p>\n\u003cp>But COVID-19 has left San Francisco’s hotel industry in tatters. According to \u003ca href=\"https://www.sftravel.com/article/san-francisco-travel-updating-tourism-projections-due-global-covid-19-pandemic\" target=\"_blank\" rel=\"noopener noreferrer\">figures released earlier this month by the San Francisco Travel Association\u003c/a>, which markets San Francisco nationally and globally as a tourism and convention destination, the number of visitors to the city are down more than 50% over last year, and their total spending has plummeted nearly 70%.\u003c/p>\n\u003cp>Arts and culture industry workers like Precita Eyes’ Cervantes are worried about what the shortfall might mean for funding in the coming years.\u003c/p>\n\u003cp>“After the 2008 recession, everyone got a cut and we were slowly able to get it back,” says Cervantes. “And now there’s a big question of if we’ll be going back to those harder times.”\u003c/p>\n\u003cp>But the shrinking of hotel tax dollars won’t completely decimate GFTA funding, at least in the near-to-medium-term, thanks to a safeguard written into Proposition E.\u003c/p>\n\u003cp>“In bad years for the hotel tax, as is the case now, we only drop by up to 10% over the previous year, and that would be the case even if hotel tax dollars dwindle to nothing,” says GFTA director Matthew Goudeau.\u003c/p>\n\u003cp>But Goudeau says the reverse is also true.\u003c/p>\n\u003cp>“In years when the hotel tax revenues are strong and growing, our budget can only grow by up to 10% over the previous year, even if, for example, the hotel tax were to grow by something like 25%.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Goudeau also says funding for each subsequent year uses the previous fiscal year as a baseline. So if the economy continues to suffer, GFTA arts funding will likely continue to fall — even if only by up to 10% each year.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco Mayor London Breed announced $12.8 million in grants to 227 arts and culture organizations throughout the city on Wednesday.\u003c/p>\n\u003cp>The funding comes from the city’s \u003ca href=\"https://sfgfta.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Grants for the Arts\u003c/a> (GFTA) program. Unlike the majority of arts grants, it is designed to cover day-to-day operating expenses.\u003c/p>\n\u003cp>Grantees range from small companies like AfroSolo, which received $10,000 in GFTA funding, to major institutions like the San Francisco Opera, with its $600,000 grant. (A full list of grantees \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/GFTA-FY21-Grants-Final-1.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">can be viewed here [PDF]\u003c/a>.)\u003c/p>\n\u003cp>Although the more substantial grants have been dispersed, as usual, to the largest and most entrenched organizations, these organizations are seeing slight losses in funding this year. The San Francisco Museum of Modern Art’s grant fell from $423,190 to $400,00 since 2019; the San Francisco Ballet’s from $428,890 to $400,000; and the San Francisco Opera’s from $680,000 to $600,000.\u003c/p>\n\u003cp>Conversely, many of the smaller, equity-focused community organizations are seeing an increase in 2020. Examples include the San Francisco Juneteenth Celebration, whose grant grew from $20,000 to $25,000; Project Level, up from $7,500 to $20,000; and the Transgender Film Festival, which was bumped up from $15,000 to $18,750.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And even though the total pot of money is down around $140,000 over last year, the available funds are being spread more widely, as there are seven more grantees this year. Those include the Clarion Alley Mural Project, Dancing Earth Creation, Art With Elders, the Festival of Latin American Contemporary Choreographers, Kultivate Labs, San Francisco Women Artists, and Youth Art Exchange.\u003c/p>\n\u003cp>City Administrator Naomi Kelly says these adjustments are strategic.\u003c/p>\n\u003cp>“We had a really deep dive into those organizations who tried to look at racial and ethnic equity lines in particular this year, such as the African-American community and the transgender community,” says Kelly. “We wanted to make sure that we are supporting those organizations that have been disproportionately impacted through COVID-19.”\u003c/p>\n\u003cp>At a time when so many cultural organizations have been forced to close their doors permanently or temporarily, or drastically reduce their operations owing to the coronavirus pandemic, such help from the city is a lifeline.\u003c/p>\n\u003cp>“It’s the only operating grant money that we receive,” says Suzanne Cervantes, founding executive director of \u003ca href=\"http://www.precitaeyes.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Precita Eyes Muralists\u003c/a>, a public art education nonprofit based in the Mission District. The company saw a slight increase in GFTA funding from $45,490 in 2019 to $46,350 this year. “So it makes a big difference,” adds Cervantes. “It helps pay for utilities and rent, as well as administrative costs like marketing and website management.”\u003c/p>\n\u003cp>GFTA funding, a portion of which comes from hotel tax revenues, has been in existence since 1961. But starting in the early 2000s, owing to financial issues, the city gradually reduced its arts budget, ultimately repealing the specific allocation altogether in 2013. In 2018, San Francisco residents \u003ca href=\"https://www.kqed.org/news/11704700/s-f-voters-say-yes-to-restoring-hotel-tax-funding-for-arts-and-culture\" target=\"_blank\" rel=\"noopener noreferrer\">approved a ballot measure, Proposition E\u003c/a>, to restore the funding. Since then, 1.5% of the base hotel tax — a 14% tax levied on hotel stays in the city — has been dedicated to supporting arts and culture programs in San Francisco.\u003c/p>\n\u003cp>But COVID-19 has left San Francisco’s hotel industry in tatters. According to \u003ca href=\"https://www.sftravel.com/article/san-francisco-travel-updating-tourism-projections-due-global-covid-19-pandemic\" target=\"_blank\" rel=\"noopener noreferrer\">figures released earlier this month by the San Francisco Travel Association\u003c/a>, which markets San Francisco nationally and globally as a tourism and convention destination, the number of visitors to the city are down more than 50% over last year, and their total spending has plummeted nearly 70%.\u003c/p>\n\u003cp>Arts and culture industry workers like Precita Eyes’ Cervantes are worried about what the shortfall might mean for funding in the coming years.\u003c/p>\n\u003cp>“After the 2008 recession, everyone got a cut and we were slowly able to get it back,” says Cervantes. “And now there’s a big question of if we’ll be going back to those harder times.”\u003c/p>\n\u003cp>But the shrinking of hotel tax dollars won’t completely decimate GFTA funding, at least in the near-to-medium-term, thanks to a safeguard written into Proposition E.\u003c/p>\n\u003cp>“In bad years for the hotel tax, as is the case now, we only drop by up to 10% over the previous year, and that would be the case even if hotel tax dollars dwindle to nothing,” says GFTA director Matthew Goudeau.\u003c/p>\n\u003cp>But Goudeau says the reverse is also true.\u003c/p>\n\u003cp>“In years when the hotel tax revenues are strong and growing, our budget can only grow by up to 10% over the previous year, even if, for example, the hotel tax were to grow by something like 25%.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Goudeau also says funding for each subsequent year uses the previous fiscal year as a baseline. So if the economy continues to suffer, GFTA arts funding will likely continue to fall — even if only by up to 10% each year.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Tahoe Area Ski Resort Will Change its Name, Citing Derogatory Word",
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"content": "\u003cp>California’s popular Squaw Valley Ski Resort will change its name because the word “squaw” is a derogatory term for Native American women, officials announced Tuesday. The site was the scene of the 1960 Winter Olympics.\u003c/p>\n\u003cp>The decision was reached after consulting with local Native American groups and extensive research into the etymology and history of the term “squaw,” said Ron Cohen, president and COO of Squaw Valley Alpine Meadows.\u003c/p>\n\u003cp>The word “squaw,” derived from the Algonquin language, may have once simply meant “woman,” but over generations, the word morphed into a misogynist and racist term to disparage indigenous women.\u003c/p>\n\u003cp>“While we love our local history and the memories we all associate with this place as it has been named for so long, we are confronted with the overwhelming evidence that the term ‘squaw’ is considered offensive,” Cohen said.\u003c/p>\n\u003cp>Work to find a new name will start immediately and is expected to be announced next year, he said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When settlers arrived in the 1850s in the area where the Sierra Nevada resort is now located, they first saw only Native American women working in a meadow. The land near Lake Tahoe was believed to have been given the name Squaw Valley by those early settlers.\u003c/p>\n\u003cp>Regional California tribes have asked for the name of the resort to be changed numerous times over the years, with little success.\u003c/p>\n\u003cp>The renaming is not without precedent, as other sites in California have had the word “squaw” removed from their official names. Recently, in 2011, a California Historical Landmark along Highway 101 in Mendocino County known for over 100 years as Squaw Rock was \u003ca href=\"https://en.wikipedia.org/wiki/Frog_Woman_Rock\" rel=\"noopener noreferrer\" target=\"_blank\">renamed Frog Woman Rock\u003c/a>.\u003c/p>\n\u003cp>In other states, calls to rename \u003ca href=\"https://coloradosun.com/2020/07/13/renaming-colorado-mountains-landmarks-racism/\" rel=\"noopener noreferrer\" target=\"_blank\">Squaw Mountain\u003c/a> in Colorado and \u003ca href=\"https://www.phoenix.gov/pdd/street-renaming/comments\" rel=\"noopener noreferrer\" target=\"_blank\">Squaw Peak Drive\u003c/a> in Arizona have amplified in the past year.\u003c/p>\n\u003cp>The reconsiderations in naming are among many efforts across the nation to address colonialism and indigenous oppression, including the removal of statues of Christopher Columbus, a symbol to many of European colonization and the death of native people.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gabe Meline added reporting to this story.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>California’s popular Squaw Valley Ski Resort will change its name because the word “squaw” is a derogatory term for Native American women, officials announced Tuesday. The site was the scene of the 1960 Winter Olympics.\u003c/p>\n\u003cp>The decision was reached after consulting with local Native American groups and extensive research into the etymology and history of the term “squaw,” said Ron Cohen, president and COO of Squaw Valley Alpine Meadows.\u003c/p>\n\u003cp>The word “squaw,” derived from the Algonquin language, may have once simply meant “woman,” but over generations, the word morphed into a misogynist and racist term to disparage indigenous women.\u003c/p>\n\u003cp>“While we love our local history and the memories we all associate with this place as it has been named for so long, we are confronted with the overwhelming evidence that the term ‘squaw’ is considered offensive,” Cohen said.\u003c/p>\n\u003cp>Work to find a new name will start immediately and is expected to be announced next year, he said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When settlers arrived in the 1850s in the area where the Sierra Nevada resort is now located, they first saw only Native American women working in a meadow. The land near Lake Tahoe was believed to have been given the name Squaw Valley by those early settlers.\u003c/p>\n\u003cp>Regional California tribes have asked for the name of the resort to be changed numerous times over the years, with little success.\u003c/p>\n\u003cp>The renaming is not without precedent, as other sites in California have had the word “squaw” removed from their official names. Recently, in 2011, a California Historical Landmark along Highway 101 in Mendocino County known for over 100 years as Squaw Rock was \u003ca href=\"https://en.wikipedia.org/wiki/Frog_Woman_Rock\" rel=\"noopener noreferrer\" target=\"_blank\">renamed Frog Woman Rock\u003c/a>.\u003c/p>\n\u003cp>In other states, calls to rename \u003ca href=\"https://coloradosun.com/2020/07/13/renaming-colorado-mountains-landmarks-racism/\" rel=\"noopener noreferrer\" target=\"_blank\">Squaw Mountain\u003c/a> in Colorado and \u003ca href=\"https://www.phoenix.gov/pdd/street-renaming/comments\" rel=\"noopener noreferrer\" target=\"_blank\">Squaw Peak Drive\u003c/a> in Arizona have amplified in the past year.\u003c/p>\n\u003cp>The reconsiderations in naming are among many efforts across the nation to address colonialism and indigenous oppression, including the removal of statues of Christopher Columbus, a symbol to many of European colonization and the death of native people.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gabe Meline added reporting to this story.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Oakland Police Raided the Town’s Only Magic Mushroom Church",
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"content": "\u003cp>In an only-in-the-Bay-Area turn of events, the Oakland Police Department raided the country’s most prominent psychedelic “church” and magic mushroom dispensary last week.\u003c/p>\n\u003cp>Its minister, Dave Hodges, told \u003ca href=\"https://www.vice.com/en_us/article/889bvp/cops-raided-and-shut-down-the-only-magic-mushroom-church-in-the-us\" target=\"_blank\" rel=\"noopener noreferrer\">Vice News\u003c/a> that armed cops busted into \u003ca href=\"https://zidedoor.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Zide Door Church of Entheogenic Plants\u003c/a> on Aug. 13 and seized $200,000 in cash, cannabis and several strains of psychedelic mushrooms; no one was arrested. Though the Oakland City Council voted to decriminalize hallucinogenic fungi possession and consumption last year, that policy doesn’t extend to sales. And according to police, Hodges received several warnings to shut down the operation, which their warrant described as an unpermitted cannabis dispensary.\u003c/p>\n\u003cp>“The council said mushrooms should not be our priority, and they’re not,” said Oakland Police Captain Randell Wingate told Vice News about the raid. “You can use mushrooms, you can grow your own mushrooms—but selling mushrooms is still not legal.”\u003c/p>\n\u003cp>Going \u003ca href=\"https://www.instagram.com/tv/CEIdAdEAIue/\" target=\"_blank\" rel=\"noopener noreferrer\">live on Instagram\u003c/a> on Aug. 20 with mushroom advocate @Oakland_Hyphae, Hodges characterized the raid as a misuse of city resources and an infringement on his religious rights. Firefighters were deployed to break into the Zide Door safe during wildfire season, he pointed out, and he questioned the police’s use of resources on the raid during a summer in which homicides are up from last year.\u003c/p>\n\u003cp>“The amount of Oakland manpower—that is there to be protecting people and saving people’s lives—[used] to come raid a church is insane,” he said. So far, no charges against Hodges have been filed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In an only-in-the-Bay-Area turn of events, the Oakland Police Department raided the country’s most prominent psychedelic “church” and magic mushroom dispensary last week.\u003c/p>\n\u003cp>Its minister, Dave Hodges, told \u003ca href=\"https://www.vice.com/en_us/article/889bvp/cops-raided-and-shut-down-the-only-magic-mushroom-church-in-the-us\" target=\"_blank\" rel=\"noopener noreferrer\">Vice News\u003c/a> that armed cops busted into \u003ca href=\"https://zidedoor.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Zide Door Church of Entheogenic Plants\u003c/a> on Aug. 13 and seized $200,000 in cash, cannabis and several strains of psychedelic mushrooms; no one was arrested. Though the Oakland City Council voted to decriminalize hallucinogenic fungi possession and consumption last year, that policy doesn’t extend to sales. And according to police, Hodges received several warnings to shut down the operation, which their warrant described as an unpermitted cannabis dispensary.\u003c/p>\n\u003cp>“The council said mushrooms should not be our priority, and they’re not,” said Oakland Police Captain Randell Wingate told Vice News about the raid. “You can use mushrooms, you can grow your own mushrooms—but selling mushrooms is still not legal.”\u003c/p>\n\u003cp>Going \u003ca href=\"https://www.instagram.com/tv/CEIdAdEAIue/\" target=\"_blank\" rel=\"noopener noreferrer\">live on Instagram\u003c/a> on Aug. 20 with mushroom advocate @Oakland_Hyphae, Hodges characterized the raid as a misuse of city resources and an infringement on his religious rights. Firefighters were deployed to break into the Zide Door safe during wildfire season, he pointed out, and he questioned the police’s use of resources on the raid during a summer in which homicides are up from last year.\u003c/p>\n\u003cp>“The amount of Oakland manpower—that is there to be protecting people and saving people’s lives—[used] to come raid a church is insane,” he said. So far, no charges against Hodges have been filed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "SF Venue Owners, Musicians Ask City to Allow Outdoor Performances",
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"content": "\u003cp>Despite chalk circles drawn in the grass for social distancing, San Francisco’s Dolores Park is regularly packed with people, many of them without masks. Same with Golden Gate Park, Valencia Street and Ocean Beach.\u003c/p>\n\u003cp>With unpermitted gatherings happening in the city pretty much every weekend with nice weather, venue owners, musicians and other performing artists are becoming frustrated that their shows will be unable to resume—in an official capacity, anyway—until San Francisco reaches phase four of its reopening plan. It’s currently in phase two.\u003c/p>\n\u003cp>Several entertainment industry stakeholders have approached the San Francisco Entertainment Commission to argue that the city needs to create clear guidelines for outdoor music and performing arts events. Unpermitted gatherings are happening already anyway, they say, so why not allow artists and venues to make money from them legally, especially at a time when artists are out of work and many venues are at the brink of permanent closure?\u003c/p>\n\u003cp>“We’re the people who know better than anyone how to regulate an audience,” said Fred Barnes, general manager of The Chapel, at the Aug. 18 San Francisco Entertainment Commission meeting. Barnes co-founded the \u003ca href=\"https://www.kqed.org/arts/13878116/independent-venue-alliance-offers-hope-for-local-music-ecosystem\" target=\"_blank\" rel=\"noopener noreferrer\">Independent Venue Alliance\u003c/a>, which represents nearly 30 San Francisco music venues of all sizes, to collectively fundraise and lobby city government during the pandemic shutdown. “We have hundreds of people who work for us who we’d like to give some employment to, some artists we’d like to give employment to … and more than anything else, create an environment that would be safer than what is currently happening.” [aside postid='arts_13878116']\u003c/p>\n\u003cp>“I have witnessed individual artists staging outdoor public performances despite the lack of a permitting procedure to allow them to do so (and have heard of many others). I know artists will continue to do this for the innumerable social, health, spiritual/imaginal and economic benefits they manifest,” wrote choreographer Keith Hennessy in a letter to the Entertainment Commission. He urged the city government to take a harm-reduction approach, arguing that small, outdoor performances shouldn’t be treated the same way as arena concerts with thousands of attendees at places like the Chase Center. “These are not irresponsible super-spreader events, they are carefully planned activities that follow solid public health protocols.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Proponents of outdoor performances argue that, much like it has expanded outdoor dining through its \u003ca href=\"https://sf.gov/shared-spaces\" target=\"_blank\" rel=\"noopener noreferrer\">Shared Spaces\u003c/a> program, the city should allow creative uses of its streets, parks and other public spaces for socially distanced music events. Barnes recently threw a private concert in The Chapel’s parking lot as a fundraiser for the Independent Venue Alliance. “One things that was noticeable about that event was that, of that whole closed-down area of Valencia that was going on that weekend, the event that we had was by far the place where [people followed] the social distancing rules,” he said.\u003c/p>\n\u003cp>Ticket sales from outdoor shows could be a lifeline for San Francisco music venues, many of which were already operating on razor-thin profit margins prior to the pandemic. Since the Bay Area began sheltering in place in March, some of them have sold merchandise or takeout food and drinks, but these attempts haven’t generated enough income to cover mounting costs of rent, mortgage, property taxes, garbage and electricity bills or insurance.\u003c/p>\n\u003cp>Barnes says that 30–50% of the venues in the Independent Venue Alliance could go out of business by early next year. And the National Independent Venue Association, which includes over 100 concert halls from Northern California, estimates that 90% of its participating venues will close permanently by this fall without government aid. (Congress went on recess before voting on the \u003ca href=\"https://www.saveourstages.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Save Our Stages Act\u003c/a>, which would offer grants to independent venues.) [aside postid='arts_13883952']\u003c/p>\n\u003cp>At the Entertainment Commission meeting, musician Arya Zarrinkelk said that San Francisco should pilot a model for outdoor events while the weather still allows. “The rainy season is coming in November,” he said. “If we do not prototype public events before the rainy season, artists will be forced to wait until spring 2021. That is unacceptable.” By that time, many venues could close permanently without an income stream or government aid.\u003c/p>\n\u003cp>The prospect of venues folding could have a chain reaction on San Francisco’s economy, Barnes also said. In pre-pandemic times, venues attracted hundreds of people to eat, drink and shop in neighborhoods before parties and concerts. Without them, neighborhoods could be devastated after shelter in place is lifted. [aside postid='arts_13884842']\u003c/p>\n\u003cp>At the meeting, the members of the Entertainment Commission were sympathetic to these arguments, and said that they would bring these concerns to city and state public health officials, who have the authority to make the ultimate call. (KQED has reached out to the San Francisco Department of Public Health for comment.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think I can speak for most of us, all of us on this commission, that we really understand the value of music when it comes to culture and community,” said commissioner Cyn Wang, “and we want to be your advocate.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Proponents of outdoor performances argue that, much like it has expanded outdoor dining through its \u003ca href=\"https://sf.gov/shared-spaces\" target=\"_blank\" rel=\"noopener noreferrer\">Shared Spaces\u003c/a> program, the city should allow creative uses of its streets, parks and other public spaces for socially distanced music events. Barnes recently threw a private concert in The Chapel’s parking lot as a fundraiser for the Independent Venue Alliance. “One things that was noticeable about that event was that, of that whole closed-down area of Valencia that was going on that weekend, the event that we had was by far the place where [people followed] the social distancing rules,” he said.\u003c/p>\n\u003cp>Ticket sales from outdoor shows could be a lifeline for San Francisco music venues, many of which were already operating on razor-thin profit margins prior to the pandemic. Since the Bay Area began sheltering in place in March, some of them have sold merchandise or takeout food and drinks, but these attempts haven’t generated enough income to cover mounting costs of rent, mortgage, property taxes, garbage and electricity bills or insurance.\u003c/p>\n\u003cp>Barnes says that 30–50% of the venues in the Independent Venue Alliance could go out of business by early next year. And the National Independent Venue Association, which includes over 100 concert halls from Northern California, estimates that 90% of its participating venues will close permanently by this fall without government aid. (Congress went on recess before voting on the \u003ca href=\"https://www.saveourstages.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Save Our Stages Act\u003c/a>, which would offer grants to independent venues.) \u003c/p>\u003c/div>",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
},
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"id": "freakonomics-radio",
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
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"airtime": "SUN 7:30pm-8pm",
"meta": {
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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