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Email \u003ca href=\"mailto:nvoynovskaya@kqed.org\" target=\"_blank\" rel=\"noopener noreferrer\">nvoynovskaya@kqed.org\u003c/a> to have an artist’s name added. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13881557\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881557\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-33-36-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-36-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-36-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-36-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-36-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-36-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by DeredWRK (@deredwrk). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881578\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881578\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-48-18-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-18-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-18-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-18-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-18-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-18-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by T. Banks (@reallyfebanksy). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881542\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881542\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-21-58-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-21-58-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-21-58-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-21-58-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-21-58-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-21-58-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by @studionoiroakland. \u003ccite>(Cianni Jackson )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881580\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881580\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-50-00-PM-800x600.jpg\" alt=\"A Black Lives Matter mural in downtown Oakland by @studionoiroakland.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-50-00-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-50-00-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-50-00-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-50-00-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-50-00-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881579\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881579\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-49-23-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-49-23-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-49-23-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-49-23-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-49-23-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-49-23-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881577\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881577\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-48-09-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-09-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-09-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-09-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-09-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-09-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Divya Bala (@divyabala). \u003ccite>(Cianni Jackson )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881576\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881576\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-46-57-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-46-57-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-46-57-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-46-57-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-46-57-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-46-57-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Skyline High School students. (@_lemons_draw, @meyerlemonsketches, @happyemoart, @kaiadesigncircle, @rachelkantor.skyline) \u003ccite>(Cianni Jackson )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881575\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881575\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-45-42-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-42-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-42-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-42-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-42-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-42-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881574\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881574\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-45-17-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-17-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-17-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-17-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-17-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-17-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881573\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-45-07-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-07-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-07-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-07-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-07-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-07-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881570\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-43-12-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-43-12-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-43-12-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-43-12-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-43-12-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-43-12-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881571\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881571\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-44-33-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-44-33-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-44-33-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-44-33-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-44-33-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-44-33-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by @justblaze88tats. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881569\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881569\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881568\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13881568 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Sofia Sharpe and Estella Tse (@filosa_sofia and @estellatse). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881567\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881567\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-39-28-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-28-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-28-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-28-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-28-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-28-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Keene Visionz. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881566\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881566\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-39-24-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-24-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-24-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-24-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-24-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-24-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Christian Muñoz (@kilimunoz). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881565\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881565\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-38-57-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-57-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-57-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-57-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-57-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-57-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881563\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881563\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-38-05-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-05-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-05-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-05-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-05-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-05-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Sarah Siskin (@ssiskin). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881561\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881561\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-36-32-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-36-32-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-36-32-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-36-32-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-36-32-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-36-32-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Keena (@lamakina510), Leslie Dime Lopez (@ladimeuna) and Few and Far Women (@fewandfarwomen). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881556\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881556\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-33-14-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-14-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-14-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-14-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-14-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-14-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Gaia (@gaiaw.xyz). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881555\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881555\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-33-04-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-04-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-04-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-04-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-04-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-04-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Gaia (@gaiaw.xyz). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881554\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881554\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-32-54-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-54-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-54-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-54-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-54-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-54-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Maxx Slaughter (@maxxslaughter). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881600\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881600\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-32-18-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-18-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-18-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-18-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-18-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-18-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by C. Gazaleh (@c.gazaleh). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881552\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881552\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-31-19-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-19-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-19-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-19-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-19-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-19-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881551\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881551\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-31-04-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-04-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-04-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-04-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-04-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-04-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881550\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881550\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-30-27-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-30-27-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-30-27-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-30-27-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-30-27-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-30-27-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881549\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-29-52-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-52-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-52-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-52-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-52-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-52-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881548\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881548\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-29-33-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-33-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-33-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-33-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-33-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-33-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881547\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881547\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-28-40-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-40-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-40-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-40-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-40-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-40-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by @girlmobb. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881546\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881546\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-28-27-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-27-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-27-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-27-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-27-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-27-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by @girlmobb. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881559\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881559\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-35-56-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-35-56-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-35-56-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-35-56-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-35-56-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-35-56-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artists unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "Artists covered Oakland’s streets with murals that bear remembrances, messages of solidarity, outrage and visions for an equitable future.",
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"title": "PHOTOS: Oakland’s Black Lives Matter Murals Call for Justice | KQED",
"description": "Artists covered Oakland’s streets with murals that bear remembrances, messages of solidarity, outrage and visions for an equitable future.",
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"headline": "PHOTOS: Oakland’s Black Lives Matter Murals Call for Justice",
"datePublished": "2020-06-08T17:19:43-07:00",
"dateModified": "2024-09-19T09:05:31-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over the last week, Oaklanders have risen up in solidarity with protestors in Minneapolis, Louisville and cities across the country to denounce police violence and systemic, anti-black racism. Tens of thousands of people marching have called for the city to defund or abolish the police, and have advocated for bringing the killers of George Floyd, Breonna Taylor, Tony McDade and other black victims of violence to justice. While the protests have mostly been peaceful, some have resulted in broken windows and graffiti that drastically changed the face of the city.\u003c/p>\n\u003cp>Over the weekend, local artists came together to cover Oakland’s streets with murals that bear remembrances, messages of solidarity with the black community, outrage and visions for a more equitable future. \u003ca href=\"https://twitter.com/jacknicas/status/1269758998171004930?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">On 15th Street\u003c/a>, artists wrote the words “Black Lives Matter” in enormous letters that spanned three blocks.\u003c/p>\n\u003cp>Photographer \u003ca href=\"https://www.instagram.com/heyitsthemomlife/\" target=\"_blank\" rel=\"noopener noreferrer\">Cianni Jackson\u003c/a> was at the scene. —\u003cem>Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong> KQED tried to credit the artists whenever possible, but not all the murals were signed. Email \u003ca href=\"mailto:nvoynovskaya@kqed.org\" target=\"_blank\" rel=\"noopener noreferrer\">nvoynovskaya@kqed.org\u003c/a> to have an artist’s name added. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13881557\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881557\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-33-36-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-36-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-36-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-36-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-36-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-36-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by DeredWRK (@deredwrk). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881578\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881578\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-48-18-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-18-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-18-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-18-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-18-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-18-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by T. Banks (@reallyfebanksy). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881542\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881542\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-21-58-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-21-58-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-21-58-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-21-58-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-21-58-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-21-58-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by @studionoiroakland. \u003ccite>(Cianni Jackson )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881580\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881580\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-50-00-PM-800x600.jpg\" alt=\"A Black Lives Matter mural in downtown Oakland by @studionoiroakland.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-50-00-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-50-00-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-50-00-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-50-00-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-50-00-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881579\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881579\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-49-23-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-49-23-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-49-23-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-49-23-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-49-23-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-49-23-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881577\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881577\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-48-09-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-09-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-09-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-09-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-09-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-48-09-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Divya Bala (@divyabala). \u003ccite>(Cianni Jackson )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881576\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881576\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-46-57-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-46-57-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-46-57-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-46-57-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-46-57-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-46-57-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Skyline High School students. (@_lemons_draw, @meyerlemonsketches, @happyemoart, @kaiadesigncircle, @rachelkantor.skyline) \u003ccite>(Cianni Jackson )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881575\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881575\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-45-42-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-42-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-42-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-42-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-42-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-42-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881574\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881574\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-45-17-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-17-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-17-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-17-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-17-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-17-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881573\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-45-07-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-07-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-07-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-07-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-07-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-45-07-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881570\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-43-12-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-43-12-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-43-12-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-43-12-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-43-12-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-43-12-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881571\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881571\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-44-33-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-44-33-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-44-33-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-44-33-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-44-33-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-44-33-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by @justblaze88tats. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881569\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881569\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-41-25-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881568\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13881568 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-53-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Sofia Sharpe and Estella Tse (@filosa_sofia and @estellatse). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881567\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881567\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-39-28-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-28-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-28-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-28-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-28-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-28-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Keene Visionz. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881566\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881566\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-39-24-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-24-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-24-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-24-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-24-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-39-24-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Christian Muñoz (@kilimunoz). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881565\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881565\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-38-57-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-57-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-57-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-57-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-57-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-57-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881563\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881563\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-38-05-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-05-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-05-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-05-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-05-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-38-05-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Sarah Siskin (@ssiskin). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881561\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881561\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-36-32-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-36-32-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-36-32-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-36-32-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-36-32-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-36-32-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Keena (@lamakina510), Leslie Dime Lopez (@ladimeuna) and Few and Far Women (@fewandfarwomen). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881556\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881556\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-33-14-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-14-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-14-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-14-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-14-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-14-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Gaia (@gaiaw.xyz). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881555\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881555\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-33-04-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-04-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-04-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-04-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-04-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-33-04-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Gaia (@gaiaw.xyz). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881554\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881554\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-32-54-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-54-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-54-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-54-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-54-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-54-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Maxx Slaughter (@maxxslaughter). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881600\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881600\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-32-18-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-18-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-18-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-18-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-18-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-32-18-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by C. Gazaleh (@c.gazaleh). \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881552\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881552\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-31-19-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-19-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-19-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-19-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-19-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-19-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881551\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881551\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-31-04-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-04-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-04-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-04-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-04-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-31-04-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881550\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881550\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-30-27-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-30-27-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-30-27-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-30-27-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-30-27-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-30-27-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881549\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-29-52-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-52-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-52-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-52-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-52-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-52-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881548\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881548\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-29-33-PM-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-33-PM-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-33-PM-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-33-PM-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-33-PM-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-29-33-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881547\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881547\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-28-40-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-40-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-40-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-40-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-40-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-40-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by @girlmobb. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881546\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881546\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-28-27-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-27-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-27-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-27-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-27-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-28-27-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by @girlmobb. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13881559\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881559\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Photo-Jun-06-3-35-56-PM-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-35-56-PM-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-35-56-PM-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-35-56-PM-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-35-56-PM-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Photo-Jun-06-3-35-56-PM.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artists unknown. \u003ccite>(Cianni Jackson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "the-golden-gate-bridge-sounds-like-a-david-lynch-movie-now",
"title": "Why the Golden Gate Bridge Is Now a Giant Orange Wheezing Kazoo",
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"headTitle": "Why the Golden Gate Bridge Is Now a Giant Orange Wheezing Kazoo | KQED",
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"content": "\u003cp>\u003cem>\u003cstrong>UPDATE, 1:30pm\u003c/strong>: The sound is intentional. See below.\u003c/em>\u003c/p>\n\u003cp>If you are anywhere in the vicinity of the Golden Gate Bridge right now, you are probably asking yourself: What in the world is that sound? A long, loud hum from a deep sea creature? Alien frequencies from outer space? An enormous sigh from San Francisco’s greatest landmark, finally registering its dismay at the state of the world?\u003c/p>\n\u003cp>Nope—the eerie sound you’re hearing from the Golden Gate Bridge is in fact the result of \u003ca href=\"https://twitter.com/SF311/status/1269143762225238016\" target=\"_blank\" rel=\"noopener noreferrer\">new sidewalk railing slats\u003c/a>, just installed, meant to better handle the wind. Funny thing about wind: when it passes through certain open spaces, it creates a hum. This is how all reed instruments work, and because it spans a very windy gap across the Bay, the Golden Gate Bridge is now effectively a giant orange wheezing kazoo.\u003c/p>\n\u003cp>https://twitter.com/chilibrianno/status/1269136076196601856\u003c/p>\n\u003cp>It’s something that the engineers of said sidewalk panels \u003cdel datetime=\"2020-06-06T20:24:44+00:00\">\u003ca href=\"https://twitter.com/SF311/status/1269143762225238016\" target=\"_blank\" rel=\"noopener noreferrer\">apparently forgot\u003c/a> to take into consideration\u003c/del>. \u003cstrong>UPDATE: The sound is intentional\u003c/strong>. Or, at least, known about in advance.\u003c/p>\n\u003cp>According to a statement Saturday morning by Paolo Cosulich-Schwartz of the Bridge District, “The Golden Gate Bridge has started to sing. The new musical tones coming from the bridge are a known and inevitable phenomenon that stem from our wind retrofit during very high winds.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cosulich-Schwartz adds: “As part of the design process, the District did extensive studies on the impacts of the project, including wind tunnel testing of a scale model of the Golden Gate Bridge under high winds.” Those tests, \u003ca href=\"https://youtu.be/PYS6Z3pbmsA\" target=\"_blank\" rel=\"noopener noreferrer\">seen in a video here\u003c/a>, showed that the bridge “would begin to hum” when air passed through it more freely.\u003c/p>\n\u003cp>And it looks like the strange sound is here to stay. The aerodynamic retrofit, on the western, bike-lane side of the bridge, is “necessary to ensure the safety and structural integrity of the bridge for generations to come,” Cosulich-Schwartz says.\u003c/p>\n\u003cp>Which means: goodbye fog horns, hello \u003cem>HOOOOOOOOOWWWWWWWWWWHHHHHHHHHHOOOOOOOOOMMMMMMMMMMAAAAAUUUUHH\u003c/em>.\u003c/p>\n\u003cp>https://twitter.com/RaemondBW/status/1269110206161547265\u003c/p>\n\u003cp>This is… going to drive everyone crazy?\u003c/p>\n\u003cp>https://youtu.be/IfsZ585gTnE\u003c/p>\n\u003cp>And, since the sound can be heard from miles away, the city is now one big David Lynch movie.\u003c/p>\n\u003cp>https://twitter.com/Shirin_Jnk/status/1269143410268467200\u003c/p>\n\u003cp>Hooray for us, San Francisco! We’ve managed to add one more completely bonkers thing to the year 2020.\u003c/p>\n\u003cp>https://twitter.com/gmeline/status/1269316331716833282\u003c/p>\n\u003cp>(Want to tell the city that, like, you dig Brian Eno and everything, but you don’t really need to hear ambient drones day and night? \u003ca href=\"https://twitter.com/SF311/status/1269170943257202691\" target=\"_blank\" rel=\"noopener noreferrer\">Here’s how to get in touch with the right people\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "What in the world is that strange sound coming from the Golden Gate Bridge? Let us explain.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>UPDATE, 1:30pm\u003c/strong>: The sound is intentional. See below.\u003c/em>\u003c/p>\n\u003cp>If you are anywhere in the vicinity of the Golden Gate Bridge right now, you are probably asking yourself: What in the world is that sound? A long, loud hum from a deep sea creature? Alien frequencies from outer space? An enormous sigh from San Francisco’s greatest landmark, finally registering its dismay at the state of the world?\u003c/p>\n\u003cp>Nope—the eerie sound you’re hearing from the Golden Gate Bridge is in fact the result of \u003ca href=\"https://twitter.com/SF311/status/1269143762225238016\" target=\"_blank\" rel=\"noopener noreferrer\">new sidewalk railing slats\u003c/a>, just installed, meant to better handle the wind. Funny thing about wind: when it passes through certain open spaces, it creates a hum. This is how all reed instruments work, and because it spans a very windy gap across the Bay, the Golden Gate Bridge is now effectively a giant orange wheezing kazoo.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>It’s something that the engineers of said sidewalk panels \u003cdel datetime=\"2020-06-06T20:24:44+00:00\">\u003ca href=\"https://twitter.com/SF311/status/1269143762225238016\" target=\"_blank\" rel=\"noopener noreferrer\">apparently forgot\u003c/a> to take into consideration\u003c/del>. \u003cstrong>UPDATE: The sound is intentional\u003c/strong>. Or, at least, known about in advance.\u003c/p>\n\u003cp>According to a statement Saturday morning by Paolo Cosulich-Schwartz of the Bridge District, “The Golden Gate Bridge has started to sing. The new musical tones coming from the bridge are a known and inevitable phenomenon that stem from our wind retrofit during very high winds.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cosulich-Schwartz adds: “As part of the design process, the District did extensive studies on the impacts of the project, including wind tunnel testing of a scale model of the Golden Gate Bridge under high winds.” Those tests, \u003ca href=\"https://youtu.be/PYS6Z3pbmsA\" target=\"_blank\" rel=\"noopener noreferrer\">seen in a video here\u003c/a>, showed that the bridge “would begin to hum” when air passed through it more freely.\u003c/p>\n\u003cp>And it looks like the strange sound is here to stay. The aerodynamic retrofit, on the western, bike-lane side of the bridge, is “necessary to ensure the safety and structural integrity of the bridge for generations to come,” Cosulich-Schwartz says.\u003c/p>\n\u003cp>Which means: goodbye fog horns, hello \u003cem>HOOOOOOOOOWWWWWWWWWWHHHHHHHHHHOOOOOOOOOMMMMMMMMMMAAAAAUUUUHH\u003c/em>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>This is… going to drive everyone crazy?\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/IfsZ585gTnE'\n title='//www.youtube.com/embed/IfsZ585gTnE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And, since the sound can be heard from miles away, the city is now one big David Lynch movie.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Hooray for us, San Francisco! We’ve managed to add one more completely bonkers thing to the year 2020.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>(Want to tell the city that, like, you dig Brian Eno and everything, but you don’t really need to hear ambient drones day and night? \u003ca href=\"https://twitter.com/SF311/status/1269170943257202691\" target=\"_blank\" rel=\"noopener noreferrer\">Here’s how to get in touch with the right people\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>Updated June 4, 3:15pm\u003c/i>\u003c/p>\n\u003cp>On Saturday, Taylor Brandon was at home in Oakland, resting after protests against the police killing of George Floyd roiled her hometown. She decided to check in on the social media presence of her former employer, the San Francisco Museum of Modern Art. Brandon, who is black, had quit as a communications associate in April after experiencing racism in the workplace, and she was frustrated to find her former employer addressing the extrajudicial killing of Floyd only indirectly.\u003c/p>\n\u003cp>On Instagram, SFMOMA had posted a picture of New York conceptual artist Glenn Ligon’s \u003cem>We’re Black and Strong (I)\u003c/em>, a 1996 screenprint showing raised fists and a white banner inspired by the previous year’s Million Man March in Washington, D.C. “I was taken aback,” she said in an interview. “SFMOMA, you can’t use the work of black artists to make a statement you should make. You can’t stand behind the work of black people to do the work you need to do inside.”\u003c/p>\n\u003cp>Brandon, the only black employee in the marketing and communications department when she quit, left a comment on the post calling it a “cop out,” writing that the museum has a “history of using black pain for their own financial gain.” What happened next strengthened her view that museum leadership is afraid to discuss racism: The comment was deleted, and all comments were disabled. “It was very true of my experience there—speak out and be silenced,” Brandon said.\u003c/p>\n\u003cfigure id=\"attachment_13881263\" class=\"wp-caption aligncenter\" style=\"max-width: 1870px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881263\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.16.55-PM.png\" alt=\"SFMOMA's labor union account calls the museum's deletion of Brandon's comment racist censorship.\" width=\"1870\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.16.55-PM.png 1870w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.16.55-PM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.16.55-PM-800x513.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.16.55-PM-768x493.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.16.55-PM-1020x655.png 1020w\" sizes=\"auto, (max-width: 1870px) 100vw, 1870px\">\u003cfigcaption class=\"wp-caption-text\">SFMOMA’s labor union account calls the museum’s deletion of Brandon’s comment racist censorship.\u003c/figcaption>\u003c/figure>\n\u003cp>SFMOMA’s labor union, OPEIU Local 29, \u003ca href=\"https://www.instagram.com/p/CA3LjlUBGqP/\">shared screenshots\u003c/a> of Brandon’s deleted comment over the weekend, calling it an act of racist censorship. And the outcry is catching on: Brandon and the \u003ca href=\"https://www.nurecollective.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Nure Collective\u003c/a>, a group of 11 black artists in Oakland and San Francisco who’d been hired to create content for SFMOMA’s “#MuseumfromHome” initiative, on Tuesday issued an open letter condemning the museum’s actions and demanding several restorative measures.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Brandon and the collective are calling for SFMOMA to publicly apologize to all current and past black employees; re-examine complaints of racial and other forms of bias; consider replacing senior marketing staff who they say have exhibited racial bias; create a permanent gallery space dedicated to featuring the work of black artists; create a program to advance black curators; and make donations to memorial funds for George Floyd and Tony McDade. (Read the entire list of demands and letter \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Nure-Collective-Letter-to-SFMOMA-final.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.)\u003c/p>\n\u003cp>On Monday, SFMOMA \u003ca href=\"https://www.instagram.com/p/CA512AMld1s/\" target=\"_blank\" rel=\"noopener noreferrer\">issued a statement\u003c/a> on Instagram saying its post from Saturday “should have more directly expressed our sadness and outrage as an institution at the ongoing trauma and violence that continues to disproportionately affect Black lives.” The statement names Floyd and other black people killed by police and vows to foster change within the organization.\u003c/p>\n\u003cp>The response is “too little, too late,” Brandon said. “They’re trying to save themselves.”\u003c/p>\n\u003cp>Nan Keeton, SFMOMA’s deputy director of external relations, elaborated on the museum’s decision to delete Brandon’s comment at a staff meeting Tuesday. Because Brandon’s comment named senior museum leadership figures and included the phrase “museums kill black people too,” SFMOMA deemed the remarks “potential threats” that “target individuals,” Keeton said in a video acquired by KQED. “This language threatens the safety of the museum and its staff,” she said.\u003c/p>\n\u003cp>Brandon, after seeing the video of the staff meeting, described Keeton’s statement as a bad-faith misreading of her comments that continues a legacy of casting black people as threatening figures. “I was struck by the choice not to use my name. I mean, Nan has met my mom,” she said. “It’s more of this narrative that I’m a part of the violence of this moment.”\u003c/p>\n\u003cfigure id=\"attachment_13881265\" class=\"wp-caption aligncenter\" style=\"max-width: 1868px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881265\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.17.03-PM.png\" alt=\"Local artists Leila Weefur and Elena Gross, with the Heavy Breathing collective register their objections to SFMOMA.\" width=\"1868\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.17.03-PM.png 1868w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.17.03-PM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.17.03-PM-800x514.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.17.03-PM-768x493.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.17.03-PM-1020x655.png 1020w\" sizes=\"auto, (max-width: 1868px) 100vw, 1868px\">\u003cfigcaption class=\"wp-caption-text\">Local artists Leila Weefur and Elena Gross, with the Heavy Breathing collective register their objections to SFMOMA.\u003c/figcaption>\u003c/figure>\n\u003cp>Other artists commissioned by the museum for online programming are registering their objections to SFMOMA’s treatment of Brandon. Local artist Leila Weefur and writer Elena Gross, with the Heavy Breathing collective, refused to continue with planned museum-sponsored programming unless SFMOMA posted their statement online, verbatim. \u003ca href=\"https://www.instagram.com/p/CA8YqBPljd7/\" target=\"_blank\" rel=\"noopener noreferrer\">The resulting post\u003c/a> features a black square with the centered phrase, “Uncensor Black Narratives,” an image Weefur created.\u003c/p>\n\u003cp>“SFMOMA’s apology fails to acknowledge that their act of censorship, in deleting and disabling comments on their May 30th post, is a silencing act that is complicit with and enables systemized violence against Black individuals,” the statement reads in part. “Heavy Breathing, Weefur and Gross support criticism of the museum’s initial media response to the protests.”\u003c/p>\n\u003cp>Brandon, who aims to find work as a curator, said SFMOMA’s reactions to her and others’ criticisms follow a crisis management approach familiar from her own time at the museum as a communications professional. “It’s always, how can we remain in conversation but not rock the boat? How can we not upset our donors and remain neutral? But museums aren’t neutral.”\u003c/p>\n\u003cp>SFMOMA, which has been closed since March 14, in late March \u003ca href=\"https://www.kqed.org/arts/13877653/sfmoma-to-lay-off-or-furlough-over-300-museum-staff\" target=\"_blank\" rel=\"noopener noreferrer\">announced\u003c/a> plans to lay off or furlough hundreds of workers. After receiving a $6.2 million federal loan, the museum committed to retaining workers through June 30. In April, staff launched a \u003ca href=\"https://www.change.org/p/san-francisco-museum-of-modern-art-open-letter-calling-on-sfmoma-to-retain-staff-during-covid-19-crisis?\" target=\"blank\" rel=\"noopener noreferrer\">petition\u003c/a> calling on leadership to forego pay, among other demands.\u003c/p>\n\u003cp>On the morning of June 4, SFMOMA posted \u003ca href=\"https://www.instagram.com/p/CBBIbYtlERX/\" rel=\"noopener noreferrer\" target=\"_blank\">a letter of apology\u003c/a> to Brandon from museum director Neal Benezra on its Instagram page. “Taylor was right,” Benezra’s letter says. “The decision to limit comments was not consistent with our values as a museum.” He apologizes for the “pain and anger” the museum’s decision to delete and disable comments has caused current and past black employees and SFMOMA’s community, writing, “I take full responsibility for the museum’s actions.” \u003c/p>\n\u003cfigure id=\"attachment_13881409\" class=\"wp-caption aligncenter\" style=\"max-width: 1627px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/SFMOMA_Apology_FINAL.png\" alt=\"\" width=\"1627\" height=\"1198\" class=\"size-full wp-image-13881409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SFMOMA_Apology_FINAL.png 1627w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SFMOMA_Apology_FINAL-160x118.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SFMOMA_Apology_FINAL-800x589.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SFMOMA_Apology_FINAL-768x565.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SFMOMA_Apology_FINAL-1020x751.png 1020w\" sizes=\"auto, (max-width: 1627px) 100vw, 1627px\">\u003cfigcaption class=\"wp-caption-text\">SFMOMA posted a letter of apology from museum director Neal Benezra to Taylor Brandon on June 4.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story has been updated to include Neal Benezra’s apology from June 4.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Updated June 4, 3:15pm\u003c/i>\u003c/p>\n\u003cp>On Saturday, Taylor Brandon was at home in Oakland, resting after protests against the police killing of George Floyd roiled her hometown. She decided to check in on the social media presence of her former employer, the San Francisco Museum of Modern Art. Brandon, who is black, had quit as a communications associate in April after experiencing racism in the workplace, and she was frustrated to find her former employer addressing the extrajudicial killing of Floyd only indirectly.\u003c/p>\n\u003cp>On Instagram, SFMOMA had posted a picture of New York conceptual artist Glenn Ligon’s \u003cem>We’re Black and Strong (I)\u003c/em>, a 1996 screenprint showing raised fists and a white banner inspired by the previous year’s Million Man March in Washington, D.C. “I was taken aback,” she said in an interview. “SFMOMA, you can’t use the work of black artists to make a statement you should make. You can’t stand behind the work of black people to do the work you need to do inside.”\u003c/p>\n\u003cp>Brandon, the only black employee in the marketing and communications department when she quit, left a comment on the post calling it a “cop out,” writing that the museum has a “history of using black pain for their own financial gain.” What happened next strengthened her view that museum leadership is afraid to discuss racism: The comment was deleted, and all comments were disabled. “It was very true of my experience there—speak out and be silenced,” Brandon said.\u003c/p>\n\u003cfigure id=\"attachment_13881263\" class=\"wp-caption aligncenter\" style=\"max-width: 1870px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881263\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.16.55-PM.png\" alt=\"SFMOMA's labor union account calls the museum's deletion of Brandon's comment racist censorship.\" width=\"1870\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.16.55-PM.png 1870w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.16.55-PM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.16.55-PM-800x513.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.16.55-PM-768x493.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.16.55-PM-1020x655.png 1020w\" sizes=\"auto, (max-width: 1870px) 100vw, 1870px\">\u003cfigcaption class=\"wp-caption-text\">SFMOMA’s labor union account calls the museum’s deletion of Brandon’s comment racist censorship.\u003c/figcaption>\u003c/figure>\n\u003cp>SFMOMA’s labor union, OPEIU Local 29, \u003ca href=\"https://www.instagram.com/p/CA3LjlUBGqP/\">shared screenshots\u003c/a> of Brandon’s deleted comment over the weekend, calling it an act of racist censorship. And the outcry is catching on: Brandon and the \u003ca href=\"https://www.nurecollective.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Nure Collective\u003c/a>, a group of 11 black artists in Oakland and San Francisco who’d been hired to create content for SFMOMA’s “#MuseumfromHome” initiative, on Tuesday issued an open letter condemning the museum’s actions and demanding several restorative measures.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Brandon and the collective are calling for SFMOMA to publicly apologize to all current and past black employees; re-examine complaints of racial and other forms of bias; consider replacing senior marketing staff who they say have exhibited racial bias; create a permanent gallery space dedicated to featuring the work of black artists; create a program to advance black curators; and make donations to memorial funds for George Floyd and Tony McDade. (Read the entire list of demands and letter \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Nure-Collective-Letter-to-SFMOMA-final.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.)\u003c/p>\n\u003cp>On Monday, SFMOMA \u003ca href=\"https://www.instagram.com/p/CA512AMld1s/\" target=\"_blank\" rel=\"noopener noreferrer\">issued a statement\u003c/a> on Instagram saying its post from Saturday “should have more directly expressed our sadness and outrage as an institution at the ongoing trauma and violence that continues to disproportionately affect Black lives.” The statement names Floyd and other black people killed by police and vows to foster change within the organization.\u003c/p>\n\u003cp>The response is “too little, too late,” Brandon said. “They’re trying to save themselves.”\u003c/p>\n\u003cp>Nan Keeton, SFMOMA’s deputy director of external relations, elaborated on the museum’s decision to delete Brandon’s comment at a staff meeting Tuesday. Because Brandon’s comment named senior museum leadership figures and included the phrase “museums kill black people too,” SFMOMA deemed the remarks “potential threats” that “target individuals,” Keeton said in a video acquired by KQED. “This language threatens the safety of the museum and its staff,” she said.\u003c/p>\n\u003cp>Brandon, after seeing the video of the staff meeting, described Keeton’s statement as a bad-faith misreading of her comments that continues a legacy of casting black people as threatening figures. “I was struck by the choice not to use my name. I mean, Nan has met my mom,” she said. “It’s more of this narrative that I’m a part of the violence of this moment.”\u003c/p>\n\u003cfigure id=\"attachment_13881265\" class=\"wp-caption aligncenter\" style=\"max-width: 1868px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881265\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.17.03-PM.png\" alt=\"Local artists Leila Weefur and Elena Gross, with the Heavy Breathing collective register their objections to SFMOMA.\" width=\"1868\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.17.03-PM.png 1868w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.17.03-PM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.17.03-PM-800x514.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.17.03-PM-768x493.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-02-at-1.17.03-PM-1020x655.png 1020w\" sizes=\"auto, (max-width: 1868px) 100vw, 1868px\">\u003cfigcaption class=\"wp-caption-text\">Local artists Leila Weefur and Elena Gross, with the Heavy Breathing collective register their objections to SFMOMA.\u003c/figcaption>\u003c/figure>\n\u003cp>Other artists commissioned by the museum for online programming are registering their objections to SFMOMA’s treatment of Brandon. Local artist Leila Weefur and writer Elena Gross, with the Heavy Breathing collective, refused to continue with planned museum-sponsored programming unless SFMOMA posted their statement online, verbatim. \u003ca href=\"https://www.instagram.com/p/CA8YqBPljd7/\" target=\"_blank\" rel=\"noopener noreferrer\">The resulting post\u003c/a> features a black square with the centered phrase, “Uncensor Black Narratives,” an image Weefur created.\u003c/p>\n\u003cp>“SFMOMA’s apology fails to acknowledge that their act of censorship, in deleting and disabling comments on their May 30th post, is a silencing act that is complicit with and enables systemized violence against Black individuals,” the statement reads in part. “Heavy Breathing, Weefur and Gross support criticism of the museum’s initial media response to the protests.”\u003c/p>\n\u003cp>Brandon, who aims to find work as a curator, said SFMOMA’s reactions to her and others’ criticisms follow a crisis management approach familiar from her own time at the museum as a communications professional. “It’s always, how can we remain in conversation but not rock the boat? How can we not upset our donors and remain neutral? But museums aren’t neutral.”\u003c/p>\n\u003cp>SFMOMA, which has been closed since March 14, in late March \u003ca href=\"https://www.kqed.org/arts/13877653/sfmoma-to-lay-off-or-furlough-over-300-museum-staff\" target=\"_blank\" rel=\"noopener noreferrer\">announced\u003c/a> plans to lay off or furlough hundreds of workers. After receiving a $6.2 million federal loan, the museum committed to retaining workers through June 30. In April, staff launched a \u003ca href=\"https://www.change.org/p/san-francisco-museum-of-modern-art-open-letter-calling-on-sfmoma-to-retain-staff-during-covid-19-crisis?\" target=\"blank\" rel=\"noopener noreferrer\">petition\u003c/a> calling on leadership to forego pay, among other demands.\u003c/p>\n\u003cp>On the morning of June 4, SFMOMA posted \u003ca href=\"https://www.instagram.com/p/CBBIbYtlERX/\" rel=\"noopener noreferrer\" target=\"_blank\">a letter of apology\u003c/a> to Brandon from museum director Neal Benezra on its Instagram page. “Taylor was right,” Benezra’s letter says. “The decision to limit comments was not consistent with our values as a museum.” He apologizes for the “pain and anger” the museum’s decision to delete and disable comments has caused current and past black employees and SFMOMA’s community, writing, “I take full responsibility for the museum’s actions.” \u003c/p>\n\u003cfigure id=\"attachment_13881409\" class=\"wp-caption aligncenter\" style=\"max-width: 1627px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/SFMOMA_Apology_FINAL.png\" alt=\"\" width=\"1627\" height=\"1198\" class=\"size-full wp-image-13881409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SFMOMA_Apology_FINAL.png 1627w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SFMOMA_Apology_FINAL-160x118.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SFMOMA_Apology_FINAL-800x589.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SFMOMA_Apology_FINAL-768x565.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/SFMOMA_Apology_FINAL-1020x751.png 1020w\" sizes=\"auto, (max-width: 1627px) 100vw, 1627px\">\u003cfigcaption class=\"wp-caption-text\">SFMOMA posted a letter of apology from museum director Neal Benezra to Taylor Brandon on June 4.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story has been updated to include Neal Benezra’s apology from June 4.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/13881241/5-maneras-de-participar-en-favor-de-la-justicia-racial\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Leer en español.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Aug. 27, 12:23pm: \u003c/em>\u003c/strong>\u003cem>This post was updated to include information on the Milwaukee Freedom Fund. \u003c/em>\u003c/p>\n\u003cp>\u003cb>June\u003c/b>\u003cem>\u003cb> 2, 10:36am: \u003c/b>This post was updated to include the latest information on Bay Area bail funds. \u003c/em>\u003c/p>\n\u003cp>The scope of systemic racism in this country is overwhelming and infuriating. Race affects everything—how seriously your doctor evaluates your symptoms, your quality of education, your job and housing prospects. And, of course, your likelihood of being harassed, arrested or killed by police, who, in the vast majority of cases, walk away with impunity.\u003c/p>\n\u003cp>In the wake of the police killing of George Floyd in Minneapolis on May 25, anti-police brutality protests have reignited across the country, \u003ca href=\"http://www.antipoliceterrorproject.org/blog-entire/emergency-communique-george-floyds-murder?fbclid=IwAR3VoHqhzluWXpYMw1JOK4HPGTbVOn1P2L-jXNOwNg9g6QTUegsFLI-Kj_A\" target=\"_blank\" rel=\"noopener noreferrer\">including in Oakland\u003c/a> and \u003ca href=\"https://sanfrancisco.cbslocal.com/2020/05/28/demonstrators-protest-hayward-police-shooting-man-driveway/\" target=\"_blank\" rel=\"noopener noreferrer\">Hayward\u003c/a>, the latter of which had two police shootings this month. Meanwhile, many people are struggling with ways to contribute to the fight for racial justice at a time when health authorities advise that the best way to help the world right now is to stay at home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If that’s you, then here are some concrete ways to be helpful while sheltering in place.\u003c/p>\n\u003ch2>Donate to On-the-Ground Activists\u003c/h2>\n\u003cp>Activists attending physical protests during the pandemic are putting themselves on the line in numerous ways, especially if they are people of color who are likelier to be taken to jail, where the risk of COVID-19 transmission is incredibly high. In Kenosha, the \u003ca href=\"https://supportwomenshealth.salsalabs.org/mkefreedomfund/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">Milwaukee Freedom Fund\u003c/a> is organizing legal support for protestors demanding justice for Jacob Blake. \u003ca href=\"https://minnesotafreedomfund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Minnesota Freedom Fund\u003c/a> is bailing people out of jail who were arrested in the ongoing Minneapolis street protests with the help of the National Lawyers Guild and Legal Rights Center. In Oakland, \u003ca href=\"https://www.instagram.com/p/CA6gKKKh8_2/\" target=\"_blank\" rel=\"noopener noreferrer\">People’s Breakfast\u003c/a> and the \u003ca href=\"https://rally.org/ARCbailfund\" target=\"_blank\" rel=\"noopener noreferrer\">Bay Area Anti-Repression Committee\u003c/a> are bailing out protestors. The Anti-Repression Committee, formed out of the Occupy protests of 2011, is collaborating with the \u003ca href=\"https://nlgsf.org/ways-to-contribute/\" target=\"_blank\" rel=\"noopener noreferrer\">National Lawyers Guild San Francisco Bay Area Chapter\u003c/a>, which is also supported by donations. [aside postid='news_11821950']\u003c/p>\n\u003ch2>Help When It’s Not an Emergency\u003c/h2>\n\u003cp>A police killing is an extreme example of the ways racism manifests in America, but there are ways to support Black and brown communities even when it’s not a state of emergency. Equal access to housing, food, medical care and education are also crucial in the fight for racial justice.\u003c/p>\n\u003cp>In Alameda County, where Black people make up 11% of the total population, 47% of homeless people are Black. The grassroots organizations \u003ca href=\"https://www.instagram.com/peoplesbreakfastoakland/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">People’s Breakfast Oakland\u003c/a> and the \u003ca href=\"http://www.eastoaklandcollective.com/\" target=\"_blank\" rel=\"noopener noreferrer\">East Oakland Collective\u003c/a> are working directly to provide meals and hygienic supplies to our unhoused neighbors, going out into the field even during the pandemic. [aside postid='arts_13883580']\u003c/p>\n\u003cp>\u003ca href=\"https://plantingjustice.org/about-70\" target=\"_blank\" rel=\"noopener noreferrer\">Planting Justice\u003c/a> employs formerly incarcerated people and gives low-income communities of color access to fresh fruits and vegetables. \u003ca href=\"https://rootsclinic.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Roots Community Health Center\u003c/a> offers health services to those impacted by systemic poverty—including COVID-19 testing, which we know low-income Black and brown need people most. The \u003ca href=\"http://www.tgijp.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Transgender, Gender-Variant and Intersex Justice Project\u003c/a> assists and advocates for gender non-conforming people, especially trans women of color, in California’s jails and prisons.\u003c/p>\n\u003cp>Donating directly to individuals is also a solid option when you see them crowdfunding on social media.\u003c/p>\n\u003cp>https://www.instagram.com/p/CAwYUXzHqTS/\u003c/p>\n\u003ch2>Educate Yourself\u003c/h2>\n\u003cp>Reading, watching documentaries and joining an anti-racist educational program are all good ways to learn the facts of how deeply racism permeates all facets of American life. \u003ca href=\"https://www.surjbayarea.org/community.html\" target=\"_blank\" rel=\"noopener noreferrer\">Showing Up for Racial Justice\u003c/a> (SURJ) is a national network that seeks to foster anti-racist solidarity among white people through education and actions. Author Ibram X. Kendi put together an \u003ca href=\"https://www.nytimes.com/2019/05/29/books/review/antiracist-reading-list-ibram-x-kendi.html\" target=\"_blank\" rel=\"noopener noreferrer\">anti-racist reading list.\u003c/a> Robin D’Angelo’s \u003ca href=\"https://robindiangelo.com/publications/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>White Fragility\u003c/em>\u003c/a> digs into the communication breakdowns white people face when talking about race. Michelle Alexander’s \u003ca href=\"https://newjimcrow.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The New Jim Crow\u003c/em>\u003c/a> details how the criminal justice system perpetuates racist oppression. \u003ca href=\"https://www.sealpress.com/titles/ijeoma-oluo/so-you-want-to-talk-about-race/9781580056779/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>So You Want to Talk About Race\u003c/em>\u003c/a> by Ijeoma Oluo gets into a variety of topics, including the school-to-prison pipeline, the model minority myth and more. There are also many guides online for ways non-Black people can put their anti-racist beliefs into action, including this one with \u003ca href=\"https://medium.com/equality-includes-you/what-white-people-can-do-for-racial-justice-f2d18b0e0234\" target=\"_blank\" rel=\"noopener noreferrer\">75 suggestions\u003c/a>. [aside postid='arts_13880973']\u003c/p>\n\u003ch2>Call Lawmakers and Vote\u003c/h2>\n\u003cp>Although some people feel uninspired to vote in the presidential election, local ballot measures and officials impact our communities directly. Earlier this year in San Francisco, for instance, voters elected Chesa Boudin as district attorney, and he quickly moved to eliminate cash bail and stop prosecuting a variety of non-violent offenses. (For context, in San Francisco, 56% of jail inmates are Black, while Black people make up less that 6% of the city’s population.) This November, several California State Senate and Assembly seats are up for grabs, as well as Alameda County Board of Supervisors seats. [aside postid='arts_13881138']\u003c/p>\n\u003cp>If you’re unsatisfied with how your local officials are handling issues of racial justice and otherwise—whether it’s your city’s response to the housing crisis, its treatment of people experiencing homelessness or its handling of COVID-19 relief efforts—call their offices, and get your friends to call too. Attending a city council meeting (which you can do virtually during the pandemic) and speaking during public comment is another way to get your voice heard.\u003c/p>\n\u003ch2>Talk to Your Community\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>If you are white or a non-Black person of color, chances are you’ve seen and heard examples of anti-Black racism from friends, family or colleagues. It’s our job to call it out when it happens, even if it feels uncomfortable. You’re not “ruining” an otherwise peaceful occasion—they’re ruining it by being racist. For those of us who come from immigrant families, \u003ca href=\"https://lettersforblacklives.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Letters for Black Lives \u003c/a>offers explainers of the Black Lives Matter movement in dozens of languages, including Chinese, Spanish, Russian and more. In addition to policy shifts, white supremacy needs to be met with a cultural shift. Some people may be resistant to you trying to educate them, but regardless of their response, it’s important to let them know that racism is unacceptable.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/13881241/5-maneras-de-participar-en-favor-de-la-justicia-racial\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Leer en español.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Aug. 27, 12:23pm: \u003c/em>\u003c/strong>\u003cem>This post was updated to include information on the Milwaukee Freedom Fund. \u003c/em>\u003c/p>\n\u003cp>\u003cb>June\u003c/b>\u003cem>\u003cb> 2, 10:36am: \u003c/b>This post was updated to include the latest information on Bay Area bail funds. \u003c/em>\u003c/p>\n\u003cp>The scope of systemic racism in this country is overwhelming and infuriating. Race affects everything—how seriously your doctor evaluates your symptoms, your quality of education, your job and housing prospects. And, of course, your likelihood of being harassed, arrested or killed by police, who, in the vast majority of cases, walk away with impunity.\u003c/p>\n\u003cp>In the wake of the police killing of George Floyd in Minneapolis on May 25, anti-police brutality protests have reignited across the country, \u003ca href=\"http://www.antipoliceterrorproject.org/blog-entire/emergency-communique-george-floyds-murder?fbclid=IwAR3VoHqhzluWXpYMw1JOK4HPGTbVOn1P2L-jXNOwNg9g6QTUegsFLI-Kj_A\" target=\"_blank\" rel=\"noopener noreferrer\">including in Oakland\u003c/a> and \u003ca href=\"https://sanfrancisco.cbslocal.com/2020/05/28/demonstrators-protest-hayward-police-shooting-man-driveway/\" target=\"_blank\" rel=\"noopener noreferrer\">Hayward\u003c/a>, the latter of which had two police shootings this month. Meanwhile, many people are struggling with ways to contribute to the fight for racial justice at a time when health authorities advise that the best way to help the world right now is to stay at home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If that’s you, then here are some concrete ways to be helpful while sheltering in place.\u003c/p>\n\u003ch2>Donate to On-the-Ground Activists\u003c/h2>\n\u003cp>Activists attending physical protests during the pandemic are putting themselves on the line in numerous ways, especially if they are people of color who are likelier to be taken to jail, where the risk of COVID-19 transmission is incredibly high. In Kenosha, the \u003ca href=\"https://supportwomenshealth.salsalabs.org/mkefreedomfund/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">Milwaukee Freedom Fund\u003c/a> is organizing legal support for protestors demanding justice for Jacob Blake. \u003ca href=\"https://minnesotafreedomfund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Minnesota Freedom Fund\u003c/a> is bailing people out of jail who were arrested in the ongoing Minneapolis street protests with the help of the National Lawyers Guild and Legal Rights Center. In Oakland, \u003ca href=\"https://www.instagram.com/p/CA6gKKKh8_2/\" target=\"_blank\" rel=\"noopener noreferrer\">People’s Breakfast\u003c/a> and the \u003ca href=\"https://rally.org/ARCbailfund\" target=\"_blank\" rel=\"noopener noreferrer\">Bay Area Anti-Repression Committee\u003c/a> are bailing out protestors. The Anti-Repression Committee, formed out of the Occupy protests of 2011, is collaborating with the \u003ca href=\"https://nlgsf.org/ways-to-contribute/\" target=\"_blank\" rel=\"noopener noreferrer\">National Lawyers Guild San Francisco Bay Area Chapter\u003c/a>, which is also supported by donations. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>Help When It’s Not an Emergency\u003c/h2>\n\u003cp>A police killing is an extreme example of the ways racism manifests in America, but there are ways to support Black and brown communities even when it’s not a state of emergency. Equal access to housing, food, medical care and education are also crucial in the fight for racial justice.\u003c/p>\n\u003cp>In Alameda County, where Black people make up 11% of the total population, 47% of homeless people are Black. The grassroots organizations \u003ca href=\"https://www.instagram.com/peoplesbreakfastoakland/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">People’s Breakfast Oakland\u003c/a> and the \u003ca href=\"http://www.eastoaklandcollective.com/\" target=\"_blank\" rel=\"noopener noreferrer\">East Oakland Collective\u003c/a> are working directly to provide meals and hygienic supplies to our unhoused neighbors, going out into the field even during the pandemic. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://plantingjustice.org/about-70\" target=\"_blank\" rel=\"noopener noreferrer\">Planting Justice\u003c/a> employs formerly incarcerated people and gives low-income communities of color access to fresh fruits and vegetables. \u003ca href=\"https://rootsclinic.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Roots Community Health Center\u003c/a> offers health services to those impacted by systemic poverty—including COVID-19 testing, which we know low-income Black and brown need people most. The \u003ca href=\"http://www.tgijp.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Transgender, Gender-Variant and Intersex Justice Project\u003c/a> assists and advocates for gender non-conforming people, especially trans women of color, in California’s jails and prisons.\u003c/p>\n\u003cp>Donating directly to individuals is also a solid option when you see them crowdfunding on social media.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch2>Educate Yourself\u003c/h2>\n\u003cp>Reading, watching documentaries and joining an anti-racist educational program are all good ways to learn the facts of how deeply racism permeates all facets of American life. \u003ca href=\"https://www.surjbayarea.org/community.html\" target=\"_blank\" rel=\"noopener noreferrer\">Showing Up for Racial Justice\u003c/a> (SURJ) is a national network that seeks to foster anti-racist solidarity among white people through education and actions. Author Ibram X. Kendi put together an \u003ca href=\"https://www.nytimes.com/2019/05/29/books/review/antiracist-reading-list-ibram-x-kendi.html\" target=\"_blank\" rel=\"noopener noreferrer\">anti-racist reading list.\u003c/a> Robin D’Angelo’s \u003ca href=\"https://robindiangelo.com/publications/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>White Fragility\u003c/em>\u003c/a> digs into the communication breakdowns white people face when talking about race. Michelle Alexander’s \u003ca href=\"https://newjimcrow.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The New Jim Crow\u003c/em>\u003c/a> details how the criminal justice system perpetuates racist oppression. \u003ca href=\"https://www.sealpress.com/titles/ijeoma-oluo/so-you-want-to-talk-about-race/9781580056779/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>So You Want to Talk About Race\u003c/em>\u003c/a> by Ijeoma Oluo gets into a variety of topics, including the school-to-prison pipeline, the model minority myth and more. There are also many guides online for ways non-Black people can put their anti-racist beliefs into action, including this one with \u003ca href=\"https://medium.com/equality-includes-you/what-white-people-can-do-for-racial-justice-f2d18b0e0234\" target=\"_blank\" rel=\"noopener noreferrer\">75 suggestions\u003c/a>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>Call Lawmakers and Vote\u003c/h2>\n\u003cp>Although some people feel uninspired to vote in the presidential election, local ballot measures and officials impact our communities directly. Earlier this year in San Francisco, for instance, voters elected Chesa Boudin as district attorney, and he quickly moved to eliminate cash bail and stop prosecuting a variety of non-violent offenses. (For context, in San Francisco, 56% of jail inmates are Black, while Black people make up less that 6% of the city’s population.) This November, several California State Senate and Assembly seats are up for grabs, as well as Alameda County Board of Supervisors seats. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If you’re unsatisfied with how your local officials are handling issues of racial justice and otherwise—whether it’s your city’s response to the housing crisis, its treatment of people experiencing homelessness or its handling of COVID-19 relief efforts—call their offices, and get your friends to call too. Attending a city council meeting (which you can do virtually during the pandemic) and speaking during public comment is another way to get your voice heard.\u003c/p>\n\u003ch2>Talk to Your Community\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>If you are white or a non-Black person of color, chances are you’ve seen and heard examples of anti-Black racism from friends, family or colleagues. It’s our job to call it out when it happens, even if it feels uncomfortable. You’re not “ruining” an otherwise peaceful occasion—they’re ruining it by being racist. For those of us who come from immigrant families, \u003ca href=\"https://lettersforblacklives.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Letters for Black Lives \u003c/a>offers explainers of the Black Lives Matter movement in dozens of languages, including Chinese, Spanish, Russian and more. In addition to policy shifts, white supremacy needs to be met with a cultural shift. Some people may be resistant to you trying to educate them, but regardless of their response, it’s important to let them know that racism is unacceptable.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Larry Kramer, the playwright whose angry voice and pen raised theatergoers’ consciousness about AIDS and roused thousands to militant protests in the early years of the epidemic, has died at 84.\u003c/p>\n\u003cp>Bill Goldstein, a writer who was working on a biography of Kramer, confirmed the news to The Associated Press. Kramer’s husband, David Webster, told \u003cem>The New York Times\u003c/em> that Kramer died Wednesday of pneumonia.\u003c/p>\n\u003cp>“We have lost a giant of a man who stood up for gay rights like a warrior. His anger was needed at a time when gay men’s deaths to AIDS were being ignored by the American government,” said Elton John in a statement.\u003c/p>\n\u003cp>Kramer, who wrote \u003cem>The Normal Heart\u003c/em> and founded the AIDS Coalition to Unleash Power, or ACT UP, lost his lover to acquired immune deficiency syndrome in 1984 and was himself infected with the virus. He also suffered from hepatitis B and received a liver transplant in 2001 because the virus had caused liver failure.\u003c/p>\n\u003cp>He was nominated for an Academy Award for his screenplay for \u003cem>Women in Love\u003c/em>, the 1969 adaptation of D.H. Lawrence’s novel. It starred Glenda Jackson, who won her first Oscar for her performance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He also wrote the 1972 screenplay \u003cem>Lost Horizon\u003c/em>, a novel, \u003cem>Faggots\u003c/em>, and the plays \u003cem>Sissies’ Scrapbook, The Furniture of Home, Just Say No\u003c/em> and \u003cem>The Destiny of Me\u003c/em>, which was a finalist for the Pulitzer Prize in 1993.\u003c/p>\n\u003cp>But for many years he was best known for his public fight to secure medical treatment, acceptance and civil rights for people with AIDS. He loudly told everyone that the gay community was grappling with a plague.\u003c/p>\n\u003cp>Tributes from the arts community flooded in Wednesday, with Lin-Manuel Miranda on Twitter saying “What an extraordinary writer, what a life.” Dan Savage wrote: “He ordered us to love ourselves and each other and to fight for our lives. He was a hero.”\u003c/p>\n\u003cp>In 1981, when AIDS had not yet acquired its name and only a few dozen people had been diagnosed with it, Kramer and a group of his friends in New York City founded Gay Men’s Health Crisis, one of the first groups in the country to address the epidemic.\u003c/p>\n\u003cp>He tried to rouse the gay community with speeches and articles such as “1,112 and Counting,” published in gay newspapers in 1983.\u003c/p>\n\u003cp>“Our continued existence as gay men upon the face of this earth is at stake,” he wrote. “Unless we fight for our lives, we shall die.”\u003c/p>\n\u003cp>The late journalist Randy Shilts, in his best selling account of the AIDS epidemic \u003cem>And the Band Played On\u003c/em>, called that article “inarguably one of the most influential works of advocacy journalism of the decade” and credited it with “crystallizing the epidemic into a political movement for the gay community.”\u003c/p>\n\u003cp>Kramer lived to see gay marriage a reality — and married himself in 2013 — but never rested. “I’m married,” he told The AP. “But that’s only part of where we are. AIDS is still decimating us and we still don’t have protection under the law.”\u003c/p>\n\u003cp>Kramer split with GMHC in 1983 after other board members decided to concentrate on providing support services to people with AIDS. It remains one of the largest AIDS-service groups in the country.\u003c/p>\n\u003cp>After leaving GMHC, Kramer wrote \u003cem>The Normal Heart\u003c/em>, in which a furious young writer — not unlike Kramer himself — battles politicians, society, the media and other gay leaders to bring attention to the crisis.\u003c/p>\n\u003cp>The play premiered at The Public Theater in April 1985. Associated Press drama critic Michael Kuchwara called it an “angry but compelling indictment of a society as well as a subculture for failing to respond adequately to the tragedy.”\u003c/p>\n\u003cp>A revival in 2011 was almost universally praised by critics and earned the best revival Tony. Two actors from it — Ellen Barkin and John Benjamin Hickey — also won Tonys. Joe Mantello played the main character of Ned Weeks, the alter ego of Kramer.\u003c/p>\n\u003cp>“I’m very moved that it moved so many people,” he said at the time. Kramer often stood outside the theater passing out fliers asking the world to take action against HIV/AIDS. “Please know that AIDS is a worldwide plague. Please know there is no cure,” it said.\u003c/p>\n\u003cp>The play was turned into a TV film for HBO in 2014 starring Mark Ruffalo, Jonathan Groff, Matt Bomer, Taylor Kitsch, Jim Parsons, Alfred Molina, Joe Mantello and Julia Roberts. It won the Emmy for best movie. Kramer stood onstage in heavy winter clothing as the statuette was presented to director Ryan Murphy.\u003c/p>\n\u003cp>The 1992 play \u003cem>The Destiny of Me\u003c/em> continues the story of Weeks from \u003cem>The Normal Heart\u003c/em>. Weeks, in the hospital for an experimental AIDS treatment, reflects on the past, particularly his relationship with his family. His parents and brother appear to act out what happened in the past, as does the young Ned, who confronts his older self.\u003c/p>\n\u003cp>In 1987, Kramer founded ACT UP, the group that became famous for staging civil disobedience at places like the Food and Drug Administration, the New York Stock Exchange and Burroughs-Wellcome Corp., the maker of the chief anti-AIDS drug, AZT.\u003c/p>\n\u003cp>ACT UP’s protests helped persuade the FDA to speed the approval of new drugs and Burroughs-Wellcome to lower its price for AZT. He also battled — and later reconciled — with Dr. Anthony Fauci, the longtime director of the National Institute of Allergy and Infectious Diseases, who has been leading the national response to the coronavirus pandemic.\u003c/p>\n\u003cp>Kramer soon relinquished a leadership role in ACT UP, and as support for AIDS research increased, he found some common ground with health officials whom ACT UP had bitterly criticized.\u003c/p>\n\u003cp>Kramer never softened the urgency of his demands. In 2011, he helped the American Foundation for Equal Rights mount their play \u003cem>8\u003c/em> on Broadway about the legal battle over same-sex marriage in California.\u003c/p>\n\u003cp>“The one nice thing that I seem to have acquired, accidentally, is this reputation of everyone afraid of my voice,” he told The AP in 2015. “So I get heard, whether it changes anything or not.”\u003c/p>\n\u003cp>One of his last projects was the massive two-volume \u003cem>The American People\u003c/em>, which chronicled the history of gay people in America and took decades to write.\u003c/p>\n\u003cp>“I just think it’s so important that we know our history — the history of how badly we’re treated and how hard we have to fight to get what we deserve, which is equality,” he told The AP.\u003c/p>\n\u003cp>At the 2013 Tonys, he was honored with the Isabelle Stevenson Award, given to a member of the theater community for philanthropic or civic efforts.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>A few months later, Kramer married his longtime partner, architect David Webster, in the intensive care unit of NYU Langone Medical Center, where Kramer was recovering from surgery for a bowel obstruction.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He also wrote the 1972 screenplay \u003cem>Lost Horizon\u003c/em>, a novel, \u003cem>Faggots\u003c/em>, and the plays \u003cem>Sissies’ Scrapbook, The Furniture of Home, Just Say No\u003c/em> and \u003cem>The Destiny of Me\u003c/em>, which was a finalist for the Pulitzer Prize in 1993.\u003c/p>\n\u003cp>But for many years he was best known for his public fight to secure medical treatment, acceptance and civil rights for people with AIDS. He loudly told everyone that the gay community was grappling with a plague.\u003c/p>\n\u003cp>Tributes from the arts community flooded in Wednesday, with Lin-Manuel Miranda on Twitter saying “What an extraordinary writer, what a life.” Dan Savage wrote: “He ordered us to love ourselves and each other and to fight for our lives. He was a hero.”\u003c/p>\n\u003cp>In 1981, when AIDS had not yet acquired its name and only a few dozen people had been diagnosed with it, Kramer and a group of his friends in New York City founded Gay Men’s Health Crisis, one of the first groups in the country to address the epidemic.\u003c/p>\n\u003cp>He tried to rouse the gay community with speeches and articles such as “1,112 and Counting,” published in gay newspapers in 1983.\u003c/p>\n\u003cp>“Our continued existence as gay men upon the face of this earth is at stake,” he wrote. “Unless we fight for our lives, we shall die.”\u003c/p>\n\u003cp>The late journalist Randy Shilts, in his best selling account of the AIDS epidemic \u003cem>And the Band Played On\u003c/em>, called that article “inarguably one of the most influential works of advocacy journalism of the decade” and credited it with “crystallizing the epidemic into a political movement for the gay community.”\u003c/p>\n\u003cp>Kramer lived to see gay marriage a reality — and married himself in 2013 — but never rested. “I’m married,” he told The AP. “But that’s only part of where we are. AIDS is still decimating us and we still don’t have protection under the law.”\u003c/p>\n\u003cp>Kramer split with GMHC in 1983 after other board members decided to concentrate on providing support services to people with AIDS. It remains one of the largest AIDS-service groups in the country.\u003c/p>\n\u003cp>After leaving GMHC, Kramer wrote \u003cem>The Normal Heart\u003c/em>, in which a furious young writer — not unlike Kramer himself — battles politicians, society, the media and other gay leaders to bring attention to the crisis.\u003c/p>\n\u003cp>The play premiered at The Public Theater in April 1985. Associated Press drama critic Michael Kuchwara called it an “angry but compelling indictment of a society as well as a subculture for failing to respond adequately to the tragedy.”\u003c/p>\n\u003cp>A revival in 2011 was almost universally praised by critics and earned the best revival Tony. Two actors from it — Ellen Barkin and John Benjamin Hickey — also won Tonys. Joe Mantello played the main character of Ned Weeks, the alter ego of Kramer.\u003c/p>\n\u003cp>“I’m very moved that it moved so many people,” he said at the time. Kramer often stood outside the theater passing out fliers asking the world to take action against HIV/AIDS. “Please know that AIDS is a worldwide plague. Please know there is no cure,” it said.\u003c/p>\n\u003cp>The play was turned into a TV film for HBO in 2014 starring Mark Ruffalo, Jonathan Groff, Matt Bomer, Taylor Kitsch, Jim Parsons, Alfred Molina, Joe Mantello and Julia Roberts. It won the Emmy for best movie. Kramer stood onstage in heavy winter clothing as the statuette was presented to director Ryan Murphy.\u003c/p>\n\u003cp>The 1992 play \u003cem>The Destiny of Me\u003c/em> continues the story of Weeks from \u003cem>The Normal Heart\u003c/em>. Weeks, in the hospital for an experimental AIDS treatment, reflects on the past, particularly his relationship with his family. His parents and brother appear to act out what happened in the past, as does the young Ned, who confronts his older self.\u003c/p>\n\u003cp>In 1987, Kramer founded ACT UP, the group that became famous for staging civil disobedience at places like the Food and Drug Administration, the New York Stock Exchange and Burroughs-Wellcome Corp., the maker of the chief anti-AIDS drug, AZT.\u003c/p>\n\u003cp>ACT UP’s protests helped persuade the FDA to speed the approval of new drugs and Burroughs-Wellcome to lower its price for AZT. He also battled — and later reconciled — with Dr. Anthony Fauci, the longtime director of the National Institute of Allergy and Infectious Diseases, who has been leading the national response to the coronavirus pandemic.\u003c/p>\n\u003cp>Kramer soon relinquished a leadership role in ACT UP, and as support for AIDS research increased, he found some common ground with health officials whom ACT UP had bitterly criticized.\u003c/p>\n\u003cp>Kramer never softened the urgency of his demands. In 2011, he helped the American Foundation for Equal Rights mount their play \u003cem>8\u003c/em> on Broadway about the legal battle over same-sex marriage in California.\u003c/p>\n\u003cp>“The one nice thing that I seem to have acquired, accidentally, is this reputation of everyone afraid of my voice,” he told The AP in 2015. “So I get heard, whether it changes anything or not.”\u003c/p>\n\u003cp>One of his last projects was the massive two-volume \u003cem>The American People\u003c/em>, which chronicled the history of gay people in America and took decades to write.\u003c/p>\n\u003cp>“I just think it’s so important that we know our history — the history of how badly we’re treated and how hard we have to fight to get what we deserve, which is equality,” he told The AP.\u003c/p>\n\u003cp>At the 2013 Tonys, he was honored with the Isabelle Stevenson Award, given to a member of the theater community for philanthropic or civic efforts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Six weeks ago, as the novel coronavirus started to wreak havoc on higher education, the labor union representing adjunct professors at California College of the Arts proposed negotiating the terms of online teaching as well as COVID 19-related sick leave and other benefits. [aside postID=arts_13877073,arts_13878509,arts_13855321]\u003c/p>\n\u003cp>Union leadership expected to quickly reach an emergency agreement between faculty and the school administration, especially after the private art and design college approved a nearly identical proposal for union staff in a separate negotiation.\u003c/p>\n\u003cp>But California College of the Arts (CCA) leadership has so far refused to negotiate with the adjunct union, which represents 70 percent of the school’s overall teaching staff, igniting a tense dispute.\u003c/p>\n\u003cp>School leadership has accused the adjunct union of soliciting a work-stoppage by sharing the student union’s request to have representatives address online classes, diverting resources from the negotiations. The adjuncts in turn say the administration is seizing on a public health crisis to divide the faculty union from its members and students in an attack on academic freedom.\u003c/p>\n\u003cp>“It’s an outrageous refusal to bargain over health and safety issues on the grounds that an email represents an illegal work stoppage,” Noga Wizansky, a CCA adjunct and union steward, said in an interview. School leadership’s real aim, according to adjunct union leaders, is to deter teachers and students from sharing information and mounting joint campaigns together.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nato Green, an SEIU Local 1021 negotiator, said in a statement that it’s “shocking and bizarre” for the CCA administration “to accuse our members of a ‘work stoppage’ of 5-10 minutes and to claim that they are incapable of dealing with any other pressing labor relations issue because of it.\u003c/p>\n\u003cp>“During the biggest public health and economic crisis in a century, CCA should focus on addressing the urgent challenges facing all of us instead of wasting energy meddling in the free speech rights of students, teachers and staff who are working together to make things better.”\u003c/p>\n\u003cp>Ann Wiens, CCA’s vice president of marketing and communications, said in a statement that she’s unable to comment on topics under discussion with the union. Wiens said the administration hopes the agreement with college staff can serve as a model for a similar agreement with adjunct faculty, and that in the meantime the college is adhering to existing workplace safety guidelines.\u003c/p>\n\u003cp>“Instructors frequently invite guest lecturers or other visitors to participate in their classes in support of learning outcomes, but it is not appropriate to take class time away from the students enrolled in the course for presentations unrelated to the course content,” Wiens said.\u003c/p>\n\u003cp>The conflict comes at a vulnerable time for CCA. The school is leaving its historic Oakland campus to \u003ca href=\"https://www.kqed.org/arts/13855321/california-college-of-the-arts-campus-consolidation-spurs-union-effort\">consolidate\u003c/a> in San Francisco, stirring anxieties about a shift from studio arts to design and potential workforce reductions. A related plan to begin scheduling classes on Saturdays, first announced last fall, has also proved controversial among faculty and staff.\u003c/p>\n\u003cp>Like colleges everywhere, CCA now faces discontent with the pivot to online instruction and reductions in other services, plus uncertainty about future enrollment. A petition for a partial \u003ca href=\"https://www.kqed.org/arts/13877073/art-students-demand-tuition-refunds-as-classes-go-online\">tuition refund\u003c/a> launched in March and circulated by the student union has garnered more than 1,000 signatures. And on Friday, CCA announced furloughs affecting more than 60 workers.\u003c/p>\n\u003cp>In an April 21 email, adjunct union leadership notified members that the student union, which operates without CCA’s formal recognition, wanted to have representatives briefly visit online classes.\u003c/p>\n\u003cp>The idea, according to recent graduate and student union organizer Yuri Knighten, was to broaden awareness of the student union as an information hub. “It wasn’t a campaign against school leadership at all,” Knighten said.\u003c/p>\n\u003cp>Yet school leadership “responded ferociously,” Wizanksy said. Julianne Kirgis, the associate provost, on April 23 emailed Wizansky and other members of the adjunct union’s Labor Management Committee to demand the letter’s withdrawal. Soliciting teachers to have student union representatives address their classes, Kirgis wrote, violates the adjunct union’s contract.\u003c/p>\n\u003cp>Program chairs then sent an email discouraging adjuncts from hosting student union representatives; only a handful hosted the visits. Still, the adjunct union declined to withdraw the letter, and a May 12 meeting between the Labor Management Committee and school leadership that was intended to resolve the conflict only sharpened differences, according to Wizansky.\u003c/p>\n\u003cp>Meanwhile, the adjuncts’ COVID-19 safety and remote work proposal—a “side letter,” in union terminology, meant to address conditions not anticipated by a contract—remains unaddressed.\u003c/p>\n\u003cp>The April 10 draft, reviewed by KQED, aims to ensure teachers have sufficient training and equipment to provide online instruction, and also to solidify benefits and paid leave eligibility in the event of contracting COVID-19 or caring for a family member sick with the virus.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The adjunct union’s current contract expires June 30.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nato Green, an SEIU Local 1021 negotiator, said in a statement that it’s “shocking and bizarre” for the CCA administration “to accuse our members of a ‘work stoppage’ of 5-10 minutes and to claim that they are incapable of dealing with any other pressing labor relations issue because of it.\u003c/p>\n\u003cp>“During the biggest public health and economic crisis in a century, CCA should focus on addressing the urgent challenges facing all of us instead of wasting energy meddling in the free speech rights of students, teachers and staff who are working together to make things better.”\u003c/p>\n\u003cp>Ann Wiens, CCA’s vice president of marketing and communications, said in a statement that she’s unable to comment on topics under discussion with the union. Wiens said the administration hopes the agreement with college staff can serve as a model for a similar agreement with adjunct faculty, and that in the meantime the college is adhering to existing workplace safety guidelines.\u003c/p>\n\u003cp>“Instructors frequently invite guest lecturers or other visitors to participate in their classes in support of learning outcomes, but it is not appropriate to take class time away from the students enrolled in the course for presentations unrelated to the course content,” Wiens said.\u003c/p>\n\u003cp>The conflict comes at a vulnerable time for CCA. The school is leaving its historic Oakland campus to \u003ca href=\"https://www.kqed.org/arts/13855321/california-college-of-the-arts-campus-consolidation-spurs-union-effort\">consolidate\u003c/a> in San Francisco, stirring anxieties about a shift from studio arts to design and potential workforce reductions. A related plan to begin scheduling classes on Saturdays, first announced last fall, has also proved controversial among faculty and staff.\u003c/p>\n\u003cp>Like colleges everywhere, CCA now faces discontent with the pivot to online instruction and reductions in other services, plus uncertainty about future enrollment. A petition for a partial \u003ca href=\"https://www.kqed.org/arts/13877073/art-students-demand-tuition-refunds-as-classes-go-online\">tuition refund\u003c/a> launched in March and circulated by the student union has garnered more than 1,000 signatures. And on Friday, CCA announced furloughs affecting more than 60 workers.\u003c/p>\n\u003cp>In an April 21 email, adjunct union leadership notified members that the student union, which operates without CCA’s formal recognition, wanted to have representatives briefly visit online classes.\u003c/p>\n\u003cp>The idea, according to recent graduate and student union organizer Yuri Knighten, was to broaden awareness of the student union as an information hub. “It wasn’t a campaign against school leadership at all,” Knighten said.\u003c/p>\n\u003cp>Yet school leadership “responded ferociously,” Wizanksy said. Julianne Kirgis, the associate provost, on April 23 emailed Wizansky and other members of the adjunct union’s Labor Management Committee to demand the letter’s withdrawal. Soliciting teachers to have student union representatives address their classes, Kirgis wrote, violates the adjunct union’s contract.\u003c/p>\n\u003cp>Program chairs then sent an email discouraging adjuncts from hosting student union representatives; only a handful hosted the visits. Still, the adjunct union declined to withdraw the letter, and a May 12 meeting between the Labor Management Committee and school leadership that was intended to resolve the conflict only sharpened differences, according to Wizansky.\u003c/p>\n\u003cp>Meanwhile, the adjuncts’ COVID-19 safety and remote work proposal—a “side letter,” in union terminology, meant to address conditions not anticipated by a contract—remains unaddressed.\u003c/p>\n\u003cp>The April 10 draft, reviewed by KQED, aims to ensure teachers have sufficient training and equipment to provide online instruction, and also to solidify benefits and paid leave eligibility in the event of contracting COVID-19 or caring for a family member sick with the virus.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The adjunct union’s current contract expires June 30.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As the framework for what the art world looks like post-pandemic takes shape, financial underpinnings threaten collapse, leaving those in the industry (and beyond) to brace for what comes next. With ticket sales stalled and many artists out of work, a new study reveals that the nonprofit arts and culture sector faces an estimated $6.8 billion loss — the equivalent to an average 26% deficit among organizations. But using these numbers as signposts, the report also lays down a roadmap to move forward.\u003c/p>\n\u003cp>Titled “\u003ca href=\"https://culturaldata.org/pages/long-haul/\" rel=\"noopener noreferrer\" target=\"_blank\">In It for the Long Haul\u003c/a>,” the study culls data from 35,000 United States nonprofit arts organizations with annual operating budgets over $50,000 to detail what issues cultural institutions are facing and what steps could lead to potential recovery. Presented by SMU DataArts and TRG Arts, the report draws from surveys conducted about closures, layoffs and impact to date, and operates under the estimate that a majority of the organizations included will be able to resume activity this October while taking into account that every “reopen” will hit differently.\u003c/p>\n\u003cp>The likelihood of a slow return to normalcy and social scarring are built into the study’s projections for recovery. Based on a combination of lost revenue and expense reductions (meaning cuts in staff and business expenses), the report lays out four questions for organizations to consider: What the next year might look like, what an organization’s strengths are, how it will manage people and revenue propositions, and who will gather when doors reopen.\u003c/p>\n\u003cp>“Cultural organizations’ strategy and structure will have to adapt to these environmental changes,” co-authors Zannie Giraud Voss, director of SMU DataArts, and Jill Robinson, CEO of TRG Arts, said. “The field of nonprofit arts and culture is unlikely to return to its pre-COVID state for the foreseeable future, if ever.”\u003c/p>\n\u003cp>They continue: “‘Business as usual’ will mean something different. Seeing ahead to what that ‘usual’ will look like is obscured by the current environment’s complexity, dynamism, resource scarcity and uncertainty.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Andrew W. Mellon Foundation, an ALL ARTS funder, facilitated the gathering of data for the report, culling findings from member surveys conducted by Theatre Communications Group, Association of Art Museum Directors, Association of Performing Arts Professionals, the League of American Orchestras, Chamber Music America, the International Association of Blacks in Dance and First Peoples Fund.\u003c/p>\n\u003cp>Drawing from this data and historical research, the report indicates that not all institutions will be able to weather these hardships — with those in precarious positions prior to the closures at most risk. This projection echoes other recent conclusions — such as \u003ca href=\"https://www.americansforthearts.org/news-room/americans-for-the-arts-news/covid-19-impact-on-the-arts-research-update-may-4-2020\" rel=\"noopener noreferrer\" target=\"_blank\">Americans for the Arts’ findings\u003c/a> that 10% of organizations surveyed are “not confident” they will reopen after the COVID-19 pandemic allows safe gathering.\u003c/p>\n\u003cp>“Not all of our beloved organizations will survive this crisis, irrespective of their size,” the report’s authors said. “Those with underlying issues heading into it, such as negative working capital and declining participation, are most susceptible to insolvency.”\u003c/p>\n\u003cp>On the flip side, the study also concludes that “those that headed into the crisis with relatively lower fixed costs, adaptive capabilities, cash reserves, strong community ties and a solid store of relational capital with a base of repeat customers and funders have greater odds of not only surviving, but reviving.”\u003c/p>\n\u003cp>As a major source of national income, the health of the arts community is vital to the overall recovery of the economy. According to the National Endowment for the Arts, the creative industry drives \u003ca href=\"https://allarts.org/2020/03/how-vital-are-the-arts-to-the-economy-very-new-study-finds/\" rel=\"noopener noreferrer\" target=\"_blank\">4.5% of U.S. gross domestic product\u003c/a> — equaling out to $877.8 billion in 2017. The Americans for the Arts survey concluded that the economic impact of losses among the arts community is $1.9 billion in government revenue, with 328,000 jobs “no longer being supported.”\u003c/p>\n\u003cp>Noting the role of arts as a community resource, the report repeatedly states that those organizations that are able to see not only the short-term effects of the crisis but also the longer-term picture stand a better chance of surviving.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Change will happen, for better or for worse,” Voss and Robinson said. “Those who have the bandwidth to think beyond near-term survival have an opportunity to contemplate the organization’s core values, strengths, and purpose coming out of this crisis.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the framework for what the art world looks like post-pandemic takes shape, financial underpinnings threaten collapse, leaving those in the industry (and beyond) to brace for what comes next. With ticket sales stalled and many artists out of work, a new study reveals that the nonprofit arts and culture sector faces an estimated $6.8 billion loss — the equivalent to an average 26% deficit among organizations. But using these numbers as signposts, the report also lays down a roadmap to move forward.\u003c/p>\n\u003cp>Titled “\u003ca href=\"https://culturaldata.org/pages/long-haul/\" rel=\"noopener noreferrer\" target=\"_blank\">In It for the Long Haul\u003c/a>,” the study culls data from 35,000 United States nonprofit arts organizations with annual operating budgets over $50,000 to detail what issues cultural institutions are facing and what steps could lead to potential recovery. Presented by SMU DataArts and TRG Arts, the report draws from surveys conducted about closures, layoffs and impact to date, and operates under the estimate that a majority of the organizations included will be able to resume activity this October while taking into account that every “reopen” will hit differently.\u003c/p>\n\u003cp>The likelihood of a slow return to normalcy and social scarring are built into the study’s projections for recovery. Based on a combination of lost revenue and expense reductions (meaning cuts in staff and business expenses), the report lays out four questions for organizations to consider: What the next year might look like, what an organization’s strengths are, how it will manage people and revenue propositions, and who will gather when doors reopen.\u003c/p>\n\u003cp>“Cultural organizations’ strategy and structure will have to adapt to these environmental changes,” co-authors Zannie Giraud Voss, director of SMU DataArts, and Jill Robinson, CEO of TRG Arts, said. “The field of nonprofit arts and culture is unlikely to return to its pre-COVID state for the foreseeable future, if ever.”\u003c/p>\n\u003cp>They continue: “‘Business as usual’ will mean something different. Seeing ahead to what that ‘usual’ will look like is obscured by the current environment’s complexity, dynamism, resource scarcity and uncertainty.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Andrew W. Mellon Foundation, an ALL ARTS funder, facilitated the gathering of data for the report, culling findings from member surveys conducted by Theatre Communications Group, Association of Art Museum Directors, Association of Performing Arts Professionals, the League of American Orchestras, Chamber Music America, the International Association of Blacks in Dance and First Peoples Fund.\u003c/p>\n\u003cp>Drawing from this data and historical research, the report indicates that not all institutions will be able to weather these hardships — with those in precarious positions prior to the closures at most risk. This projection echoes other recent conclusions — such as \u003ca href=\"https://www.americansforthearts.org/news-room/americans-for-the-arts-news/covid-19-impact-on-the-arts-research-update-may-4-2020\" rel=\"noopener noreferrer\" target=\"_blank\">Americans for the Arts’ findings\u003c/a> that 10% of organizations surveyed are “not confident” they will reopen after the COVID-19 pandemic allows safe gathering.\u003c/p>\n\u003cp>“Not all of our beloved organizations will survive this crisis, irrespective of their size,” the report’s authors said. “Those with underlying issues heading into it, such as negative working capital and declining participation, are most susceptible to insolvency.”\u003c/p>\n\u003cp>On the flip side, the study also concludes that “those that headed into the crisis with relatively lower fixed costs, adaptive capabilities, cash reserves, strong community ties and a solid store of relational capital with a base of repeat customers and funders have greater odds of not only surviving, but reviving.”\u003c/p>\n\u003cp>As a major source of national income, the health of the arts community is vital to the overall recovery of the economy. According to the National Endowment for the Arts, the creative industry drives \u003ca href=\"https://allarts.org/2020/03/how-vital-are-the-arts-to-the-economy-very-new-study-finds/\" rel=\"noopener noreferrer\" target=\"_blank\">4.5% of U.S. gross domestic product\u003c/a> — equaling out to $877.8 billion in 2017. The Americans for the Arts survey concluded that the economic impact of losses among the arts community is $1.9 billion in government revenue, with 328,000 jobs “no longer being supported.”\u003c/p>\n\u003cp>Noting the role of arts as a community resource, the report repeatedly states that those organizations that are able to see not only the short-term effects of the crisis but also the longer-term picture stand a better chance of surviving.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Change will happen, for better or for worse,” Voss and Robinson said. “Those who have the bandwidth to think beyond near-term survival have an opportunity to contemplate the organization’s core values, strengths, and purpose coming out of this crisis.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Actress Lori Loughlin and her husband Mossimo Giannulli, a fashion designer, have agreed to plead guilty in connection to the college admissions bribery scandal that federal investigators dubbed Operation Varsity Blues.\u003c/p>\n\u003cp>The U.S. Attorney’s Office of the District of Massachusetts made the \u003ca href=\"https://www.justice.gov/usao-ma/pr/california-couple-college-admissions-case-agrees-plead-guilty\">announcement Thursday\u003c/a>, saying Loughlin will plead guilty to one count of conspiracy to commit wire and mail fraud. \u003c/p>\n\u003cp>Her husband will plead guilty to one count of conspiracy to commit wire and mail fraud and honest services wire and mail fraud. \u003c/p>\n\u003cp>According to the recommendations of the plea agreement, Loughlin is facing two months in prison and a $150,000 fine. Her husband is facing five months in prison and a $250,000 fine. Ultimately, a federal judge will determine their sentences.\u003c/p>\n\u003cp>Both are scheduled to enter guilty pleas on Friday at 11:30 a.m. ET, \u003ca href=\"https://twitter.com/DMAnews1/status/1263459286065217536\">federal authorities said\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Under the plea agreements filed today, these defendants will serve prison terms reflecting their respective roles in a conspiracy to corrupt the college admissions process and which are consistent with prior sentences in this case,” Andrew Lelling, the U.S. Attorney for the District of Massachusetts, said in a statement. \u003c/p>\n\u003cp>“We will continue to pursue accountability for undermining the integrity of college admissions,” he added. \u003c/p>\n\u003cp>The couple originally \u003ca href=\"https://www.npr.org/2019/04/15/713524599/lori-loughlin-mossimo-giannulli-plead-not-guilty-in-college-cheating-scandal\">pleaded not guilty\u003c/a> in federal court in Boston in April 2019. \u003c/p>\n\u003cp>The couple was accused of paying a $500,000 bribe to secure their daughters’ admission to the University of Southern California as recruits for the university’s crew team. Neither of them had even practiced the sport.\u003c/p>\n\u003cp>Loughlin is best known for playing the role of Aunt Becky on the long-running sitcom \u003cem>Full House\u003c/em>. Giannulli’s Mossimo brand was a core clothing label at Target \u003ca href=\"https://www.latimes.com/business/la-fi-target-merona-mossimo-20170821-story.html\">until 2017\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Federal prosecutors say the couple joins 22 other parents who pleaded guilty in the college admissions scandal. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lori+Loughlin%2C+Mossimo+Giannulli+To+Plead+Guilty+In+College+Admissions+Scandal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>Oakland rock club and dive bar the Stork Club, a venue that’s been open in different forms for over 100 years, is temporarily closing due to the pandemic. Tom Chittock, manager and son of owner Juanita “Micki” Chittock, tells KQED that his family decided that it no longer made sense to pay $7,000 a month in rent and $3,000 in insurance with no reopening date in sight.\u003c/p>\n\u003cp>“I was trying and trying and trying and trying, the landlord isn’t talking to me,” says Chittock. “We would like to talk to him to see if we could get some rent forgiveness, and he hasn’t responded to any emails. I even walked over and hand delivered a letter.”\u003c/p>\n\u003cp>Chittock says that prior to the pandemic, the club had some financial struggles, but was mostly staying afloat with nightly punk shows. “\u003cspan class=\"s1\">We were hanging in there, we were having a little bit of trouble, but we were making it,” he says.\u003c/span>\u003c/p>\n\u003cp>But now, concerts are off in California until the state reaches phase four of its reopening plan—which would require the wide availability of a vaccine or therapeutics. With that timeline uncertain, the Chittock family decided to cut its losses and move out of its colorful, mural-strewn downtown Oakland space, located at the corner of Telegraph Avenue and 24th Street. Chittock says that Stork Club will one day reopen in another location, perhaps as a nonprofit, and that it’s fundraising for relocation with a \u003ca href=\"https://www.gofundme.com/f/1vggjuuuc0\" target=\"_blank\" rel=\"noopener noreferrer\">GoFundMe campaign\u003c/a>.\u003c/p>\n\u003cp>The Stork Club’s closure is the latest example of the pandemic’s alteration of Oakland’s cultural landscape. Spirithaus Gallery, a venue that centered black artists with Afrofuturist sensibilities, announced last week a move out of its West Oakland warehouse on Adeline Street. An \u003ca href=\"https://www.instagram.com/p/CAJ5Lz1Bk6G/\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram post\u003c/a> from the venue owners suggested plans to reopen in another form as well.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“As you know, things are moving in ‘real time’ and the creativity of sustainability and survival is more relevant now than ever before in our modern era,” the post reads. “This, among many other factors, has influenced our decision to rethink, unplug and pivot to a more efficient means of creativity. We are looking forward to sharing what that looks like as it comes to fruition.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>—Nastia Voynovskaya (\u003ca href=\"https://twitter.com/nananastia\" target=\"_blank\" rel=\"noopener noreferrer\">@nananastia\u003c/a>)\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland rock club and dive bar the Stork Club, a venue that’s been open in different forms for over 100 years, is temporarily closing due to the pandemic. Tom Chittock, manager and son of owner Juanita “Micki” Chittock, tells KQED that his family decided that it no longer made sense to pay $7,000 a month in rent and $3,000 in insurance with no reopening date in sight.\u003c/p>\n\u003cp>“I was trying and trying and trying and trying, the landlord isn’t talking to me,” says Chittock. “We would like to talk to him to see if we could get some rent forgiveness, and he hasn’t responded to any emails. I even walked over and hand delivered a letter.”\u003c/p>\n\u003cp>Chittock says that prior to the pandemic, the club had some financial struggles, but was mostly staying afloat with nightly punk shows. “\u003cspan class=\"s1\">We were hanging in there, we were having a little bit of trouble, but we were making it,” he says.\u003c/span>\u003c/p>\n\u003cp>But now, concerts are off in California until the state reaches phase four of its reopening plan—which would require the wide availability of a vaccine or therapeutics. With that timeline uncertain, the Chittock family decided to cut its losses and move out of its colorful, mural-strewn downtown Oakland space, located at the corner of Telegraph Avenue and 24th Street. Chittock says that Stork Club will one day reopen in another location, perhaps as a nonprofit, and that it’s fundraising for relocation with a \u003ca href=\"https://www.gofundme.com/f/1vggjuuuc0\" target=\"_blank\" rel=\"noopener noreferrer\">GoFundMe campaign\u003c/a>.\u003c/p>\n\u003cp>The Stork Club’s closure is the latest example of the pandemic’s alteration of Oakland’s cultural landscape. Spirithaus Gallery, a venue that centered black artists with Afrofuturist sensibilities, announced last week a move out of its West Oakland warehouse on Adeline Street. An \u003ca href=\"https://www.instagram.com/p/CAJ5Lz1Bk6G/\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram post\u003c/a> from the venue owners suggested plans to reopen in another form as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The City of Oakland has partnered with multiple private funders to launch the \u003ca href=\"https://www.cciarts.org/EastBayOaklandRelief.htm\" rel=\"noopener noreferrer\" target=\"_blank\">East Bay/Oakland Relief Fund for Individuals in the Arts\u003c/a>, which makes $625,000 available directly to artists, and cultural and nonprofit arts workers in Alameda County and Contra Costa County.\u003c/p>\n\u003cp>Individual grants are capped at $2,000 each, and are unrestricted, meaning the funds may be used in any way that alleviates financial burdens as a result of the COVID-19 pandemic. The application cycle runs from May 18–June 5. \u003c/p>\n\u003cp>“With this relief fund, we’re investing directly in our most vulnerable artists and culture workers, who have been incredibly hard-hit by the COVID-19 crisis,” Oakland Mayor Libby Schaaf said in a statement, adding, “I’m grateful to this public/private partnership of funders who’ve stepped forward to support our diverse artistic communities.”\u003c/p>\n\u003cp>The fund is led by the Kenneth Rainin Foundation together with the Akonadi Foundation; City of Oakland, Cultural Affairs Division; Richard Diebenkorn Foundation; Fleishhacker Foundation; Gerbode Foundation; William and Flora Hewlett Foundation; Nion McEvoy and Leslie Berriman; Oakland COVID-19 Relief Fund; Shuler-Heimburger Family Fund at East Bay Community Foundation; Phyllis C. Wattis Foundation; and individual donors.\u003c/p>\n\u003cp>Details on the fund and instructions for applying can be found \u003ca href=\"https://www.cciarts.org/EastBayOaklandRelief.htm\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>— Gabe Meline (\u003ca href=\"https://twitter.com/gmeline\" rel=\"noopener noreferrer\" target=\"_blank\">@gmeline\u003c/a>)\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The City of Oakland has partnered with multiple private funders to launch the \u003ca href=\"https://www.cciarts.org/EastBayOaklandRelief.htm\" rel=\"noopener noreferrer\" target=\"_blank\">East Bay/Oakland Relief Fund for Individuals in the Arts\u003c/a>, which makes $625,000 available directly to artists, and cultural and nonprofit arts workers in Alameda County and Contra Costa County.\u003c/p>\n\u003cp>Individual grants are capped at $2,000 each, and are unrestricted, meaning the funds may be used in any way that alleviates financial burdens as a result of the COVID-19 pandemic. The application cycle runs from May 18–June 5. \u003c/p>\n\u003cp>“With this relief fund, we’re investing directly in our most vulnerable artists and culture workers, who have been incredibly hard-hit by the COVID-19 crisis,” Oakland Mayor Libby Schaaf said in a statement, adding, “I’m grateful to this public/private partnership of funders who’ve stepped forward to support our diverse artistic communities.”\u003c/p>\n\u003cp>The fund is led by the Kenneth Rainin Foundation together with the Akonadi Foundation; City of Oakland, Cultural Affairs Division; Richard Diebenkorn Foundation; Fleishhacker Foundation; Gerbode Foundation; William and Flora Hewlett Foundation; Nion McEvoy and Leslie Berriman; Oakland COVID-19 Relief Fund; Shuler-Heimburger Family Fund at East Bay Community Foundation; Phyllis C. Wattis Foundation; and individual donors.\u003c/p>\n\u003cp>Details on the fund and instructions for applying can be found \u003ca href=\"https://www.cciarts.org/EastBayOaklandRelief.htm\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Jorge Santana, Guitarist and Founder of SF Latin-Rock Band Malo, dies at 68",
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"content": "\u003cp>Guitarist Jorge Santana, the younger brother of Carlos Santana whose guitar riffs on the band Malo’s 1972 hit “Suavecito” transformed the song into a Chicano anthem, has died.\u003c/p>\n\u003cp>Carlos Santana announced his brother’s death on his Facebook page Friday. He was 68.\u003c/p>\n\u003cp>“We take time to celebrate the magnificent spirit of our beloved brother, Jorge,” Carlos Santana wrote. “He transitioned unto the realm of light that cast no shadow the eyes of my heart clearly see him right in between our glorious and magnificent mother Josefina and our father Jose.”\u003c/p>\n\u003cp>Jorge Santana died Thursday of natural causes, the family said.\u003c/p>\n\u003cp>Born in Jalisco, Mexico, Jorge Santana began playing guitar following his brother’s footsteps.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He joined a San Francisco-based band that would later become Malo, which means “bad” in Spanish. According to band legend, the group got its name after the mother of its lead singer told them, “todos ustedes son malos,” translating into English, “all of you are bad.”\u003c/p>\n\u003cp>Their 1972 hit “Suavecito,” a tune released during the apex of the Chicano Movement, became a staple for Mexican American cookouts, weddings and quinceaneras for generations throughout the American Southwest. Its laid-back pace and bilingual lyrics came to signify Southern California.\u003c/p>\n\u003cp>The song remains one of the most requested on the Art Laboe Connection, a syndicated-oldies show out of Palm Springs, California, where D.J. Laboe, 94, allows family members of loved ones in prison send messages through dedications.\u003c/p>\n\u003cp>Malo made three albums before a highly publicized breakup.\u003c/p>\n\u003cp>Santana later played with the New York-based salsa collective Fania All-Stars. He was one of the few Mexican Americans in a project that included Puerto Ricans and Cuban Americans.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Santana would embark on a solo career. He joined his brother, Carlos, on tour in 1993.\u003c/p>\n\n",
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"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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"order": 9
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"id": "fresh-air",
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"order": 15
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"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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"order": 18
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"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",
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"source": "American Public Media"
},
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"masters-of-scale": {
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"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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},
"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",
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"meta": {
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"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",
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"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.",
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"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",
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"order": 11
},
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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",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
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"planet-money": {
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"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",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"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.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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