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"content": "\u003cp>In October 2011, about 100 people pitched tents in front of Oakland City Hall, mounting signs that condemned the country’s disproportionately wealthy one percent. As thousands more protesters joined them, Oakland became a high-profile outpost of a growing international movement against income inequality and corporate influence: Occupy Wall Street, which began in Zuccotti Park in New York City a month prior.\u003c/p>\n\u003cp>Protesters held loud dance parties and somber candlelight vigils. Danny Glover and Michael Moore stopped by to visit. Boots Riley led direct actions. At one point, the encampment grew so large that a second one was erected at nearby Snow Park.\u003c/p>\n\u003cp>Occupy had its problems: there were reports of sexual harassment, drug use and unsanitary conditions. One evening, a 25 year-old named Kayode Ola Foster, who had been residing in the encampment, was shot and killed not too far from the tents. On multiple occasions, “occupiers” clashed with law enforcement. During one of these confrontations, police shot a bean bag round at an Iraq War veteran named Scott Olsen; he was treated for a fractured skull, resulting in a $4.5 million settlement with the city.\u003c/p>\n\u003cp>At the same time, with its slogan “We Are the 99%,” \u003ca href=\"https://ww2.kqed.org/spark/occupy-bay-area-2/\" target=\"_blank\" rel=\"noopener noreferrer\">Occupy\u003c/a> painted a very clear picture of the country’s inequality, one \u003ca href=\"https://web.archive.org/web/20140306131043/http://www.cbo.gov/publication/42729\" target=\"_blank\" rel=\"noopener noreferrer\">backed up by the Congressional Budget Office\u003c/a>. It brought conversations about bank reform, student loan debt, speculative trading, corporate tax rates and Citizens United to the public square.\u003c/p>\n\u003cp>And, importantly, it coincided with the rise of smartphones.\u003c/p>\n\u003cfigure id=\"attachment_13870749\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-13870749 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/GettyImages-135686947-800x555.jpg\" alt=\"Scott Olsen, a war veteran, who was injured by a police projectile during a Occupy Oakland protest on Oct. 25, speaks in front of Occupy Oakland protesters near Oakland City Hall during the West Coast port blockage on Dec. 12, 2011 in California.\" width=\"800\" height=\"555\">\u003cfigcaption class=\"wp-caption-text\">Scott Olsen, a war veteran who was injured by a police projectile during a Occupy Oakland protest, speaks in front of Occupy Oakland protesters near Oakland City Hall during the West Coast port blockage on Dec. 12, 2011. \u003ccite>(Kimihiro Hoshino/AFP/Getty)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Technology played a huge role in Occupy, which took inspiration from the Arab Spring and its use of social networks to organize. “The streets and the internet made a pact,” explains Shake MC El (formerly Shake Anderson), who was a resident of the Occupy encampment and a member of its media team.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And at the dawn of the decade, smartphones weren’t the primary tool for on-the-street organizing and reporting. That all changed with Occupy, when “citizen journalism” became a household term, and technology became a dominant tool for protests: livestreams of police clashes in downtown Oakland, immediate information and calls to action on Twitter and in private group chats.\u003c/p>\n\u003cp>Occupy was just one of many major protests in the 2010s—Ferguson, Standing Rock, Charlottesville. But it was a rare sustained movement where technology aided, and didn’t overtake, on-the-street activism. Just a few years after Occupy, a hashtag could spark a movement (#OscarsSoWhite, #MeToo). And in the closing years of the decade, lengthy, on-the-street marches dwindled in favor of occasional one-off protests and the rise of clickable online activism.\u003c/p>\n\u003cp>Occupy Oakland started just months after the community gathered to demand justice for \u003ca href=\"https://www.kqed.org/news/11717416/it-started-with-oscar-grant-a-police-shooting-in-oakland-and-the-making-of-a-movement\" target=\"_blank\" rel=\"noopener noreferrer\">Oscar Grant\u003c/a>, and protesting police brutality remained a central focus. The people of Occupy unofficially renamed Frank Ogawa Plaza as Oscar Grant Plaza, where occupants set up culinary and sanitary stations, as well as strategic lines of communication. Quickly, the movement’s popular support began to grow.\u003c/p>\n\u003cp>On Nov. 2, 2011, protesters organized a general strike. Thousands of people marched from downtown and eventually shut down the Port of Oakland—the third largest port on the West Coast. And on Dec. 12 of that year, the port was shut down again.\u003c/p>\n\u003cp>The protesters’ thinking was simple: “Now that you’ve shut down the port, you can get any political concession you want from Oakland City Council,” recalls photographer Eric Arnold.\u003c/p>\n\u003cp>But the triumphant feeling didn’t last long. Masked demonstrators set trash cans on fire and broke businesses’ windows, making headlines. “People questioned if these anarchists were agent provocateurs or something,” says Arnold. At that point, “Occupy just kind of devolved.”\u003c/p>\n\u003cp>The final straw came on Jan. 28, 2012, when protesters attempted to occupy a downtown building. Arnold described the scene as a standoff between police in riot gear and people with homemade shields and cudgels.\u003c/p>\n\u003cp>\u003ca href=\"https://www.nytimes.com/2012/01/30/us/occupy-oakland-protest-leads-to-hundreds-of-arrests.html\" target=\"_blank\" rel=\"noopener noreferrer\">Over 400 arrests were reported\u003c/a>, and soon after, Occupy fizzled.\u003c/p>\n\u003cfigure id=\"attachment_13870750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-13870750\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/GettyImages-135704005-800x513.jpg\" alt=\"Occupy protesters march at the Port of Oakland on Dec. 12, 2011 in Oakland, California. \" width=\"800\" height=\"513\" srcset=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/GettyImages-135704005-800x513.jpg 800w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/GettyImages-135704005-160x103.jpg 160w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/GettyImages-135704005-768x492.jpg 768w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/GettyImages-135704005-1020x654.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/GettyImages-135704005-1200x769.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/GettyImages-135704005-1920x1231.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Occupy protesters march at the Port of Oakland on Dec. 12, 2011 in Oakland, California. \u003ccite>(Justin Sullivan/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a way, Occupy foreshadowed the income inequality that would affect the Bay Area in the years to come. When looking at the changes in Oakland’s protests over the course of the decade, for example, it’s clear that the displacement of working class Oaklanders, and an influx of higher-income residents, has impacted the city’s protest activity.\u003c/p>\n\u003cp>“What you fight for is going to be very different than what someone fights for who is making $100K a year since they got here,” says longtime activist Needa Bee, who was involved with Occupy Oakland and currently works as an advocate for unhoused people.\u003c/p>\n\u003cp>“Gentrification has killed our movement. You can’t really come up with a mass-base, organized protest like you could 20 years ago,” Bee continues. “Some of the most beautiful, brilliant leaders are homeless in Oakland right now.”\u003c/p>\n\u003cp>After Occupy, in 2014 and ’15, thousands of demonstrators across the Bay Area marched against police brutality, protesting the deaths of Michael Brown and Eric Garner. The Black Lives Matter movement continued into 2016 following the high-profile police killings of Philando Castile and Alton Sterling—and locally, Demouria Hogg, Alex Nieto, Mario Woods, Alan Blueford and others. Rapper Equipto and four other activists staged a hunger strike against the San Francisco Police Department that year, calling themselves the #Frisco5.\u003c/p>\n\u003cp>Once again, social media played a key role. The #BlackLivesMatter hashtag, created by Alicia Garza, Patrisse Cullors and Opal Tometi, galvanized street marches on Facebook and Twitter.\u003c/p>\n\u003cp>Black Lives Matter marches died down by late 2016, and some critics on the left—indeed, most of the people interviewed for this piece—argue that protest culture became watered down by the nonprofit sector. Black Lives Matter, many say, became less effective when it incorporated as a nonprofit organization with outside funding, undermining its initial intent.\u003c/p>\n\u003cp>“People started doing grassroots movements based on what was going to get funded,” Bee says, adding that a lot of nonprofits work to “fight the system” but have no exit strategy for when their work is done.\u003c/p>\n\u003cfigure id=\"attachment_13870751\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-13870751\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/GettyImages-457674096-800x535.jpg\" alt=\"Protesters hold signs during a demonstration against police brutality on Oct. 22, 2014 in Oakland, California. \" width=\"800\" height=\"535\">\u003cfigcaption class=\"wp-caption-text\">Protesters hold signs during a demonstration against police brutality on Oct. 22, 2014 in Oakland, California. \u003ccite>(Justin Sullivan/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s been a shift from people going out in large numbers—or from protesting against the system with our bodies—to a way that’s more subversive and focusing on the community and our survival,” says Oakland organizer Ashley Yates, noting that police suppression and plain exhaustion has also played a role in the shift. “You can only protest so much to move the people who don’t care, and then you have to turn around and speak to the people who do care.”\u003c/p>\n\u003cp>Street marches may have slowed down, but many of the “protests” in the United States are currently happening in law offices and courtrooms around the country, as well as online. And many of Oakland’s activists are focused on providing resources to the city’s unhoused populations, whose tents and possessions are routinely destroyed in city sweeps.\u003c/p>\n\u003cp>This November, two unsheltered mothers, Dominique Walker and Sameerah Karim, took over a vacant house in West Oakland that a corporation purchased in foreclosure and left vacant for 18 months. Calling their movement \u003ca href=\"https://www.kqed.org/news/11787750/two-homeless-moms-occupy-vacant-house-to-protest-oakland-housing-crisis\" target=\"_blank\" rel=\"noopener noreferrer\">Moms 4 Housing\u003c/a>, their occupation is a direct rebuke of Bay Area housing policy, and the ongoing action is getting people talking about solutions. (Also in November, activists demanding housing and dignity for homeless people \u003ca href=\"https://www.sfchronicle.com/bayarea/article/Arrests-outside-Oakland-City-Hall-as-protesters-14861567.php\" target=\"_blank\" rel=\"noopener noreferrer\">attempted to occupy\u003c/a> the lawn in front of Oakland’s City Hall, but over 60 police officers stopped them.)\u003c/p>\n\u003cp>Like the protest movements before them, Moms 4 Housing run an active Twitter account. But their physical occupation is evidence that in-person protest still serves a purpose.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>If anything, the last ten years prove that in order for real change to occur, it takes a combination of social media savvy \u003ci>and\u003c/i> showing up.\u003c/p>\n\n",
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"excerpt": "At Occupy, \"the streets and the internet made a pact,\" shaping a decade of organizing. ",
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"bullet": "San Francisco Mayor Ed Lee’s tax break attracts tech companies to Market Street, making downtown San Francisco a center of the industry in addition to Silicon Valley."
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In October 2011, about 100 people pitched tents in front of Oakland City Hall, mounting signs that condemned the country’s disproportionately wealthy one percent. As thousands more protesters joined them, Oakland became a high-profile outpost of a growing international movement against income inequality and corporate influence: Occupy Wall Street, which began in Zuccotti Park in New York City a month prior.\u003c/p>\n\u003cp>Protesters held loud dance parties and somber candlelight vigils. Danny Glover and Michael Moore stopped by to visit. Boots Riley led direct actions. At one point, the encampment grew so large that a second one was erected at nearby Snow Park.\u003c/p>\n\u003cp>Occupy had its problems: there were reports of sexual harassment, drug use and unsanitary conditions. One evening, a 25 year-old named Kayode Ola Foster, who had been residing in the encampment, was shot and killed not too far from the tents. On multiple occasions, “occupiers” clashed with law enforcement. During one of these confrontations, police shot a bean bag round at an Iraq War veteran named Scott Olsen; he was treated for a fractured skull, resulting in a $4.5 million settlement with the city.\u003c/p>\n\u003cp>At the same time, with its slogan “We Are the 99%,” \u003ca href=\"https://ww2.kqed.org/spark/occupy-bay-area-2/\" target=\"_blank\" rel=\"noopener noreferrer\">Occupy\u003c/a> painted a very clear picture of the country’s inequality, one \u003ca href=\"https://web.archive.org/web/20140306131043/http://www.cbo.gov/publication/42729\" target=\"_blank\" rel=\"noopener noreferrer\">backed up by the Congressional Budget Office\u003c/a>. It brought conversations about bank reform, student loan debt, speculative trading, corporate tax rates and Citizens United to the public square.\u003c/p>\n\u003cp>And, importantly, it coincided with the rise of smartphones.\u003c/p>\n\u003cfigure id=\"attachment_13870749\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-13870749 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/GettyImages-135686947-800x555.jpg\" alt=\"Scott Olsen, a war veteran, who was injured by a police projectile during a Occupy Oakland protest on Oct. 25, speaks in front of Occupy Oakland protesters near Oakland City Hall during the West Coast port blockage on Dec. 12, 2011 in California.\" width=\"800\" height=\"555\">\u003cfigcaption class=\"wp-caption-text\">Scott Olsen, a war veteran who was injured by a police projectile during a Occupy Oakland protest, speaks in front of Occupy Oakland protesters near Oakland City Hall during the West Coast port blockage on Dec. 12, 2011. \u003ccite>(Kimihiro Hoshino/AFP/Getty)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Technology played a huge role in Occupy, which took inspiration from the Arab Spring and its use of social networks to organize. “The streets and the internet made a pact,” explains Shake MC El (formerly Shake Anderson), who was a resident of the Occupy encampment and a member of its media team.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And at the dawn of the decade, smartphones weren’t the primary tool for on-the-street organizing and reporting. That all changed with Occupy, when “citizen journalism” became a household term, and technology became a dominant tool for protests: livestreams of police clashes in downtown Oakland, immediate information and calls to action on Twitter and in private group chats.\u003c/p>\n\u003cp>Occupy was just one of many major protests in the 2010s—Ferguson, Standing Rock, Charlottesville. But it was a rare sustained movement where technology aided, and didn’t overtake, on-the-street activism. Just a few years after Occupy, a hashtag could spark a movement (#OscarsSoWhite, #MeToo). And in the closing years of the decade, lengthy, on-the-street marches dwindled in favor of occasional one-off protests and the rise of clickable online activism.\u003c/p>\n\u003cp>Occupy Oakland started just months after the community gathered to demand justice for \u003ca href=\"https://www.kqed.org/news/11717416/it-started-with-oscar-grant-a-police-shooting-in-oakland-and-the-making-of-a-movement\" target=\"_blank\" rel=\"noopener noreferrer\">Oscar Grant\u003c/a>, and protesting police brutality remained a central focus. The people of Occupy unofficially renamed Frank Ogawa Plaza as Oscar Grant Plaza, where occupants set up culinary and sanitary stations, as well as strategic lines of communication. Quickly, the movement’s popular support began to grow.\u003c/p>\n\u003cp>On Nov. 2, 2011, protesters organized a general strike. Thousands of people marched from downtown and eventually shut down the Port of Oakland—the third largest port on the West Coast. And on Dec. 12 of that year, the port was shut down again.\u003c/p>\n\u003cp>The protesters’ thinking was simple: “Now that you’ve shut down the port, you can get any political concession you want from Oakland City Council,” recalls photographer Eric Arnold.\u003c/p>\n\u003cp>But the triumphant feeling didn’t last long. Masked demonstrators set trash cans on fire and broke businesses’ windows, making headlines. “People questioned if these anarchists were agent provocateurs or something,” says Arnold. At that point, “Occupy just kind of devolved.”\u003c/p>\n\u003cp>The final straw came on Jan. 28, 2012, when protesters attempted to occupy a downtown building. Arnold described the scene as a standoff between police in riot gear and people with homemade shields and cudgels.\u003c/p>\n\u003cp>\u003ca href=\"https://www.nytimes.com/2012/01/30/us/occupy-oakland-protest-leads-to-hundreds-of-arrests.html\" target=\"_blank\" rel=\"noopener noreferrer\">Over 400 arrests were reported\u003c/a>, and soon after, Occupy fizzled.\u003c/p>\n\u003cfigure id=\"attachment_13870750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-13870750\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/GettyImages-135704005-800x513.jpg\" alt=\"Occupy protesters march at the Port of Oakland on Dec. 12, 2011 in Oakland, California. \" width=\"800\" height=\"513\" srcset=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/GettyImages-135704005-800x513.jpg 800w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/GettyImages-135704005-160x103.jpg 160w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/GettyImages-135704005-768x492.jpg 768w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/GettyImages-135704005-1020x654.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/GettyImages-135704005-1200x769.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/GettyImages-135704005-1920x1231.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Occupy protesters march at the Port of Oakland on Dec. 12, 2011 in Oakland, California. \u003ccite>(Justin Sullivan/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a way, Occupy foreshadowed the income inequality that would affect the Bay Area in the years to come. When looking at the changes in Oakland’s protests over the course of the decade, for example, it’s clear that the displacement of working class Oaklanders, and an influx of higher-income residents, has impacted the city’s protest activity.\u003c/p>\n\u003cp>“What you fight for is going to be very different than what someone fights for who is making $100K a year since they got here,” says longtime activist Needa Bee, who was involved with Occupy Oakland and currently works as an advocate for unhoused people.\u003c/p>\n\u003cp>“Gentrification has killed our movement. You can’t really come up with a mass-base, organized protest like you could 20 years ago,” Bee continues. “Some of the most beautiful, brilliant leaders are homeless in Oakland right now.”\u003c/p>\n\u003cp>After Occupy, in 2014 and ’15, thousands of demonstrators across the Bay Area marched against police brutality, protesting the deaths of Michael Brown and Eric Garner. The Black Lives Matter movement continued into 2016 following the high-profile police killings of Philando Castile and Alton Sterling—and locally, Demouria Hogg, Alex Nieto, Mario Woods, Alan Blueford and others. Rapper Equipto and four other activists staged a hunger strike against the San Francisco Police Department that year, calling themselves the #Frisco5.\u003c/p>\n\u003cp>Once again, social media played a key role. The #BlackLivesMatter hashtag, created by Alicia Garza, Patrisse Cullors and Opal Tometi, galvanized street marches on Facebook and Twitter.\u003c/p>\n\u003cp>Black Lives Matter marches died down by late 2016, and some critics on the left—indeed, most of the people interviewed for this piece—argue that protest culture became watered down by the nonprofit sector. Black Lives Matter, many say, became less effective when it incorporated as a nonprofit organization with outside funding, undermining its initial intent.\u003c/p>\n\u003cp>“People started doing grassroots movements based on what was going to get funded,” Bee says, adding that a lot of nonprofits work to “fight the system” but have no exit strategy for when their work is done.\u003c/p>\n\u003cfigure id=\"attachment_13870751\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-13870751\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/GettyImages-457674096-800x535.jpg\" alt=\"Protesters hold signs during a demonstration against police brutality on Oct. 22, 2014 in Oakland, California. \" width=\"800\" height=\"535\">\u003cfigcaption class=\"wp-caption-text\">Protesters hold signs during a demonstration against police brutality on Oct. 22, 2014 in Oakland, California. \u003ccite>(Justin Sullivan/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s been a shift from people going out in large numbers—or from protesting against the system with our bodies—to a way that’s more subversive and focusing on the community and our survival,” says Oakland organizer Ashley Yates, noting that police suppression and plain exhaustion has also played a role in the shift. “You can only protest so much to move the people who don’t care, and then you have to turn around and speak to the people who do care.”\u003c/p>\n\u003cp>Street marches may have slowed down, but many of the “protests” in the United States are currently happening in law offices and courtrooms around the country, as well as online. And many of Oakland’s activists are focused on providing resources to the city’s unhoused populations, whose tents and possessions are routinely destroyed in city sweeps.\u003c/p>\n\u003cp>This November, two unsheltered mothers, Dominique Walker and Sameerah Karim, took over a vacant house in West Oakland that a corporation purchased in foreclosure and left vacant for 18 months. Calling their movement \u003ca href=\"https://www.kqed.org/news/11787750/two-homeless-moms-occupy-vacant-house-to-protest-oakland-housing-crisis\" target=\"_blank\" rel=\"noopener noreferrer\">Moms 4 Housing\u003c/a>, their occupation is a direct rebuke of Bay Area housing policy, and the ongoing action is getting people talking about solutions. (Also in November, activists demanding housing and dignity for homeless people \u003ca href=\"https://www.sfchronicle.com/bayarea/article/Arrests-outside-Oakland-City-Hall-as-protesters-14861567.php\" target=\"_blank\" rel=\"noopener noreferrer\">attempted to occupy\u003c/a> the lawn in front of Oakland’s City Hall, but over 60 police officers stopped them.)\u003c/p>\n\u003cp>Like the protest movements before them, Moms 4 Housing run an active Twitter account. But their physical occupation is evidence that in-person protest still serves a purpose.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If anything, the last ten years prove that in order for real change to occur, it takes a combination of social media savvy \u003ci>and\u003c/i> showing up.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "The Giants’ 2010 Victory Started a Bay Area Winning Streak",
"title": "The Giants’ 2010 Victory Started a Bay Area Winning Streak",
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"content": "\u003cp>As the reality set in that the Giants might actually make it to—and then win—the 2010 World Series, a wave of palpable electricity crept across San Francisco and invaded every bar, home and neighborhood. Night after night, as the Giants inched closer to victory, growing numbers of elated fans piled into cars, honked horns, hung out of windows and whooped their way through the streets.\u003c/p>\n\u003cp>At the beginning of the team’s winning streak, fans tried not to get their hopes up too high. Since the Giants moved from New York to San Francisco in 1958, every championship that came within reach slipped away at the last moment. In both 1962 (against the New York Yankees) and 2002 (against the Anaheim Angels), the Giants lost in Game 7. They hadn’t made it to the playoffs since 2003. So by 2010—56 years since the Giants’ last World Series win—there was an acute sense of not wanting to \u003cem>jinx it\u003c/em>. (In a perfect expression of this anxiety, the front page of \u003cem>The San Francisco Examiner\u003c/em>’s advertising section screamed “Torture is over!” the day after the Giants’ 2010 win.)\u003c/p>\n\u003cfigure id=\"attachment_13870560\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-13870560 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/GettyImages-106932685-1-800x716.jpg\" alt=\"The San Francisco giants run across the field at Rangers Ballpark, celebrating their World Series win in 2010.\" width=\"800\" height=\"716\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Giants celebrate their 3-1 victory to win the World Series over the Texas Rangers in Game 5 of the 2010 MLB World Series at Rangers Ballpark in Arlington on Nov. 1, 2010 in Arlington, Texas. \u003ccite>(Elsa/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where fans \u003cem>weren’t\u003c/em> afraid to be vocal in their enthusiasm was when it came to the motley crew of players. The standouts were either remarkably young (Madison Bumgarner was 21, Buster Posey was 23) or defiantly strange. “San Francisco is a ball club with a level of weirdness that works well in its home city,” \u003cem>Sports Illustrated\u003c/em> noted at the time. That was an understatement.\u003c/p>\n\u003cp>There was Brian Wilson with his mohawk, bushy black beard and willfully bizarre interviews, the greatest of which involved him \u003ca href=\"https://www.youtube.com/watch?v=6ckloLGOgVo\" target=\"_blank\" rel=\"noopener noreferrer\">bringing out an almost naked man\u003c/a> in a leather bondage mask during an interview with Fox Sports’ \u003cem>The Cheap Seats\u003c/em>. There was Tim “The Freak” Lincecum with his stoner-y expression, long hair and practically inhuman pitching style. (\u003cem>The Sunday Telegraph\u003c/em> once referred to him as \"quite simply, a marvel of physics.\") There was Sergio Romo, the Latino pitcher who showed up to the World Series victory parade wearing a Beatles parody T-shirt that said: “\u003ca href=\"http://www.zimbio.com/photos/Sergio+Romo/San+Francisco+Giants+Victory+Parade/gOotYA_bS7Y\" target=\"_blank\" rel=\"noopener noreferrer\">The Beaners\u003c/a>.” (For the 2012 parade, he famously showed up in one that read: “\u003ca href=\"http://nbclatino.com/2012/11/01/sergio-romo-rocks-i-just-look-illegal-at-giants-parade/#s:san-francisco-giants-victory-parade-3\" target=\"_blank\" rel=\"noopener noreferrer\">I JUST LOOK ILLEGAL\u003c/a>.”) Even Aubrey Huff was open about wearing a \u003ca href=\"https://www.nbcphiladelphia.com/news/sports/Thongs-All-Around-for-Giants-105396513.html\" target=\"_blank\" rel=\"noopener noreferrer\">red, rhinestoned thong\u003c/a> under his uniform for luck.\u003c/p>\n\u003cp>https://twitter.com/SFGiants/status/1033436348777033728\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The fact that the oddest team in Giants history was the one to finally lead the city to World Series victory felt quintessentially San Francisco. And it only enhanced fans’ sudden sense of invincibility—something that was reflected in the destruction of property that took place in the Mission and other scattered neighborhoods immediately following the defeat of the Texas Rangers in Game 5.\u003c/p>\n\u003cp>“The night the Giants won was crazy, but not a surprise,” says Mission resident Michael Scanland, who lived on the corner of 24th and Alabama Streets at the time. “You could feel it coming. It was like New Year’s Eve and the Fourth of July, but crazier—just on the edge of dangerous. I remember seeing riot cops lined up on the sidewalk, but they weren’t doing anything and I didn’t think they could have if they wanted to—they were totally outnumbered.”\u003c/p>\n\u003cfigure id=\"attachment_13870563\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-13870563\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Giants-Fans-2012-KIMIHIRO-HOSHINO_AFP_Getty-Images-800x533.jpg\" alt=\"San Francisco Giants fans celebrate their team's winning of the World Series against the Detroit Tigers in San Francisco on Oct. 28, 2012. Fans stand around a pile of burning garbage in the street as the celebration becomes destructive.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Giants-Fans-2012-KIMIHIRO-HOSHINO_AFP_Getty-Images-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/Giants-Fans-2012-KIMIHIRO-HOSHINO_AFP_Getty-Images-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/Giants-Fans-2012-KIMIHIRO-HOSHINO_AFP_Getty-Images-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/Giants-Fans-2012-KIMIHIRO-HOSHINO_AFP_Getty-Images-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/Giants-Fans-2012-KIMIHIRO-HOSHINO_AFP_Getty-Images-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/Giants-Fans-2012-KIMIHIRO-HOSHINO_AFP_Getty-Images-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Giants fans celebrate their team's winning of the World Series against the Detroit Tigers in San Francisco on Oct. 28, 2012. \u003ccite>(Kimihiro Hoshino/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Days later in downtown San Francisco, even larger crowds showed up—more than a million people, in fact—for the team’s victory parade. The reception was so enormous, BART set an all-time single day record for passenger numbers.\u003c/p>\n\u003cp>Even more inexplicably, the 2010 triumph was just the beginning. Something about that long-overdue victory lit a fuse for Bay Area sports that lasted the entire decade. There were subsequent World Series wins for the Giants in 2012 and 2014; the 49ers made it to the Superbowl in 2013; in 2016, the San Jose Sharks reached the Stanley Cup Finals for the first time. And in a series of wins that ignited the Bay once more, the Golden State Warriors stepped up and seized the NBA championships in 2015, 2017 and 2018.\u003c/p>\n\u003cp>It wasn’t just the Warriors’ trio of wins that paralleled the Giants’ success; it was the sheer length of time Warriors fans had waited for it—40 years, to be precise. And just as the Giants had a “freak” in Tim Lincecum, the Warriors had the Splash Brothers: Klay Thompson, with his legendarily flawless jumpshots, and Steph Curry, whose ability to make three-pointers from 30 to 40 feet away shifted team strategy in ways that completely baffled opposing teams. “Getting the ball to Curry is so important,\" the \u003ca href=\"https://www.wsj.com/articles/the-golden-state-warriors-have-revolutionized-basketball-1459956975\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Wall Street Journal\u003c/em>\u003c/a> once noted, “that conventional wisdom flies out the window.”\u003c/p>\n\u003cfigure id=\"attachment_13870571\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-13870571\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/GettyImages-477380656-800x666.jpg\" alt=\"The Golden State Warriors celebrate at the end of Game 6 of the 2015 NBA Finals on June 16, 2015 at the Quicken Loans Arena in Cleveland, Ohio. The Warriors took the best-of-seven series four games to two over the Cavaliers to claim their first title since 1975. \" width=\"800\" height=\"666\">\u003cfigcaption class=\"wp-caption-text\">The Golden State Warriors celebrate at the end of Game 6 of the 2015 NBA Finals on June 16, 2015 at the Quicken Loans Arena in Cleveland, Ohio. The Warriors took the best-of-seven series four games to two over the Cavaliers to claim their first title since 1975. \u003ccite>(Timothy A. Clary/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As with the Giants, the Warriors went from underdogs to virtually unbeatable almost overnight. By the time Kevin Durant left rivals Oklahoma City Thunder to join the Warriors in 2016, NBA fans and commentators were complaining that the team was \u003cem>too\u003c/em> good. “The way Kevin Durant is flowing with this team, how in God’s name is anybody going to stop them?” \u003ca href=\"https://www.youtube.com/watch?v=7ZG0WwRvbSY\" target=\"_blank\" rel=\"noopener noreferrer\">Stephen A. Smith exclaimed on ESPN\u003c/a> in January 2017. “I’m looking at the Golden State Warriors and thinking, ‘Dammit, that’s just not fair!’”\u003c/p>\n\u003cp>Though the decade in local sports will be most remembered in the history books for its remarkable successes, at the same time, Bay Area sports couldn’t help but be impacted by the demographic and economic shifts that defined the period. The 49ers’ move to Santa Clara and the Raiders’ imminent exit to Vegas hurt fans. The A’s, after losing all five of their postseason appearances in the decade, continue to plan for a new stadium. But no base has felt the impact harder than longtime East Bay Warriors fans who couldn’t help but feel betrayed by the team’s 2019 move from Oakland Arena to San Francisco’s brand new Chase Center—a shift that was accompanied by ticket price hikes and a wealthier, whiter fan base.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>With Bruce Bochy’s recent retirement as Giants manager, as well as Kevin Durant’s exit from the Warriors and Steph Curry’s hiatus due to a hand injury, there is a sense that it’s the end of an era for Bay Area sports teams. Whether or not that turns out to be true, fans will continue to revel in the spectacular wins of this decade for many years to come. The fact that it all started with a group of oddballs, on the back of one of the longest losing streaks in sporting history, just makes it all the more extraordinary.\u003c/p>\n\n",
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"bullet": "Johannes Mehserle, the police officer who shot and killed Oscar Grant, is sentenced to two years in prison for involuntary manslaughter. The sentencing is decried as too lenient, and more than 150 protesters are arrested in Oakland."
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"bullet": "The 2010 census shows that Oakland’s black population decreased from 35.5 percent in 2000 to 28 percent in 2010. In San Francisco, the black population dropped to just 6 percent in the same period."
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the reality set in that the Giants might actually make it to—and then win—the 2010 World Series, a wave of palpable electricity crept across San Francisco and invaded every bar, home and neighborhood. Night after night, as the Giants inched closer to victory, growing numbers of elated fans piled into cars, honked horns, hung out of windows and whooped their way through the streets.\u003c/p>\n\u003cp>At the beginning of the team’s winning streak, fans tried not to get their hopes up too high. Since the Giants moved from New York to San Francisco in 1958, every championship that came within reach slipped away at the last moment. In both 1962 (against the New York Yankees) and 2002 (against the Anaheim Angels), the Giants lost in Game 7. They hadn’t made it to the playoffs since 2003. So by 2010—56 years since the Giants’ last World Series win—there was an acute sense of not wanting to \u003cem>jinx it\u003c/em>. (In a perfect expression of this anxiety, the front page of \u003cem>The San Francisco Examiner\u003c/em>’s advertising section screamed “Torture is over!” the day after the Giants’ 2010 win.)\u003c/p>\n\u003cfigure id=\"attachment_13870560\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-13870560 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/GettyImages-106932685-1-800x716.jpg\" alt=\"The San Francisco giants run across the field at Rangers Ballpark, celebrating their World Series win in 2010.\" width=\"800\" height=\"716\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Giants celebrate their 3-1 victory to win the World Series over the Texas Rangers in Game 5 of the 2010 MLB World Series at Rangers Ballpark in Arlington on Nov. 1, 2010 in Arlington, Texas. \u003ccite>(Elsa/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where fans \u003cem>weren’t\u003c/em> afraid to be vocal in their enthusiasm was when it came to the motley crew of players. The standouts were either remarkably young (Madison Bumgarner was 21, Buster Posey was 23) or defiantly strange. “San Francisco is a ball club with a level of weirdness that works well in its home city,” \u003cem>Sports Illustrated\u003c/em> noted at the time. That was an understatement.\u003c/p>\n\u003cp>There was Brian Wilson with his mohawk, bushy black beard and willfully bizarre interviews, the greatest of which involved him \u003ca href=\"https://www.youtube.com/watch?v=6ckloLGOgVo\" target=\"_blank\" rel=\"noopener noreferrer\">bringing out an almost naked man\u003c/a> in a leather bondage mask during an interview with Fox Sports’ \u003cem>The Cheap Seats\u003c/em>. There was Tim “The Freak” Lincecum with his stoner-y expression, long hair and practically inhuman pitching style. (\u003cem>The Sunday Telegraph\u003c/em> once referred to him as \"quite simply, a marvel of physics.\") There was Sergio Romo, the Latino pitcher who showed up to the World Series victory parade wearing a Beatles parody T-shirt that said: “\u003ca href=\"http://www.zimbio.com/photos/Sergio+Romo/San+Francisco+Giants+Victory+Parade/gOotYA_bS7Y\" target=\"_blank\" rel=\"noopener noreferrer\">The Beaners\u003c/a>.” (For the 2012 parade, he famously showed up in one that read: “\u003ca href=\"http://nbclatino.com/2012/11/01/sergio-romo-rocks-i-just-look-illegal-at-giants-parade/#s:san-francisco-giants-victory-parade-3\" target=\"_blank\" rel=\"noopener noreferrer\">I JUST LOOK ILLEGAL\u003c/a>.”) Even Aubrey Huff was open about wearing a \u003ca href=\"https://www.nbcphiladelphia.com/news/sports/Thongs-All-Around-for-Giants-105396513.html\" target=\"_blank\" rel=\"noopener noreferrer\">red, rhinestoned thong\u003c/a> under his uniform for luck.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The fact that the oddest team in Giants history was the one to finally lead the city to World Series victory felt quintessentially San Francisco. And it only enhanced fans’ sudden sense of invincibility—something that was reflected in the destruction of property that took place in the Mission and other scattered neighborhoods immediately following the defeat of the Texas Rangers in Game 5.\u003c/p>\n\u003cp>“The night the Giants won was crazy, but not a surprise,” says Mission resident Michael Scanland, who lived on the corner of 24th and Alabama Streets at the time. “You could feel it coming. It was like New Year’s Eve and the Fourth of July, but crazier—just on the edge of dangerous. I remember seeing riot cops lined up on the sidewalk, but they weren’t doing anything and I didn’t think they could have if they wanted to—they were totally outnumbered.”\u003c/p>\n\u003cfigure id=\"attachment_13870563\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-13870563\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Giants-Fans-2012-KIMIHIRO-HOSHINO_AFP_Getty-Images-800x533.jpg\" alt=\"San Francisco Giants fans celebrate their team's winning of the World Series against the Detroit Tigers in San Francisco on Oct. 28, 2012. Fans stand around a pile of burning garbage in the street as the celebration becomes destructive.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Giants-Fans-2012-KIMIHIRO-HOSHINO_AFP_Getty-Images-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/Giants-Fans-2012-KIMIHIRO-HOSHINO_AFP_Getty-Images-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/Giants-Fans-2012-KIMIHIRO-HOSHINO_AFP_Getty-Images-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/Giants-Fans-2012-KIMIHIRO-HOSHINO_AFP_Getty-Images-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/Giants-Fans-2012-KIMIHIRO-HOSHINO_AFP_Getty-Images-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/Giants-Fans-2012-KIMIHIRO-HOSHINO_AFP_Getty-Images-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Giants fans celebrate their team's winning of the World Series against the Detroit Tigers in San Francisco on Oct. 28, 2012. \u003ccite>(Kimihiro Hoshino/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Days later in downtown San Francisco, even larger crowds showed up—more than a million people, in fact—for the team’s victory parade. The reception was so enormous, BART set an all-time single day record for passenger numbers.\u003c/p>\n\u003cp>Even more inexplicably, the 2010 triumph was just the beginning. Something about that long-overdue victory lit a fuse for Bay Area sports that lasted the entire decade. There were subsequent World Series wins for the Giants in 2012 and 2014; the 49ers made it to the Superbowl in 2013; in 2016, the San Jose Sharks reached the Stanley Cup Finals for the first time. And in a series of wins that ignited the Bay once more, the Golden State Warriors stepped up and seized the NBA championships in 2015, 2017 and 2018.\u003c/p>\n\u003cp>It wasn’t just the Warriors’ trio of wins that paralleled the Giants’ success; it was the sheer length of time Warriors fans had waited for it—40 years, to be precise. And just as the Giants had a “freak” in Tim Lincecum, the Warriors had the Splash Brothers: Klay Thompson, with his legendarily flawless jumpshots, and Steph Curry, whose ability to make three-pointers from 30 to 40 feet away shifted team strategy in ways that completely baffled opposing teams. “Getting the ball to Curry is so important,\" the \u003ca href=\"https://www.wsj.com/articles/the-golden-state-warriors-have-revolutionized-basketball-1459956975\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Wall Street Journal\u003c/em>\u003c/a> once noted, “that conventional wisdom flies out the window.”\u003c/p>\n\u003cfigure id=\"attachment_13870571\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-13870571\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/GettyImages-477380656-800x666.jpg\" alt=\"The Golden State Warriors celebrate at the end of Game 6 of the 2015 NBA Finals on June 16, 2015 at the Quicken Loans Arena in Cleveland, Ohio. The Warriors took the best-of-seven series four games to two over the Cavaliers to claim their first title since 1975. \" width=\"800\" height=\"666\">\u003cfigcaption class=\"wp-caption-text\">The Golden State Warriors celebrate at the end of Game 6 of the 2015 NBA Finals on June 16, 2015 at the Quicken Loans Arena in Cleveland, Ohio. The Warriors took the best-of-seven series four games to two over the Cavaliers to claim their first title since 1975. \u003ccite>(Timothy A. Clary/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As with the Giants, the Warriors went from underdogs to virtually unbeatable almost overnight. By the time Kevin Durant left rivals Oklahoma City Thunder to join the Warriors in 2016, NBA fans and commentators were complaining that the team was \u003cem>too\u003c/em> good. “The way Kevin Durant is flowing with this team, how in God’s name is anybody going to stop them?” \u003ca href=\"https://www.youtube.com/watch?v=7ZG0WwRvbSY\" target=\"_blank\" rel=\"noopener noreferrer\">Stephen A. Smith exclaimed on ESPN\u003c/a> in January 2017. “I’m looking at the Golden State Warriors and thinking, ‘Dammit, that’s just not fair!’”\u003c/p>\n\u003cp>Though the decade in local sports will be most remembered in the history books for its remarkable successes, at the same time, Bay Area sports couldn’t help but be impacted by the demographic and economic shifts that defined the period. The 49ers’ move to Santa Clara and the Raiders’ imminent exit to Vegas hurt fans. The A’s, after losing all five of their postseason appearances in the decade, continue to plan for a new stadium. But no base has felt the impact harder than longtime East Bay Warriors fans who couldn’t help but feel betrayed by the team’s 2019 move from Oakland Arena to San Francisco’s brand new Chase Center—a shift that was accompanied by ticket price hikes and a wealthier, whiter fan base.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With Bruce Bochy’s recent retirement as Giants manager, as well as Kevin Durant’s exit from the Warriors and Steph Curry’s hiatus due to a hand injury, there is a sense that it’s the end of an era for Bay Area sports teams. Whether or not that turns out to be true, fans will continue to revel in the spectacular wins of this decade for many years to come. The fact that it all started with a group of oddballs, on the back of one of the longest losing streaks in sporting history, just makes it all the more extraordinary.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "PHOTOS: Alcatraz Occupation to Dedication, Different Time ... Same Place",
"title": "PHOTOS: Alcatraz Occupation to Dedication, Different Time ... Same Place",
"headTitle": "KQED News",
"content": "\u003cp>This month marks the 50th \u003ca href=\"https://www.kqed.org/arts/13870041/alcatraz-occupation-50\" target=\"_blank\" rel=\"noopener noreferrer\">anniversary of the occupation\u003c/a> of Alcatraz, when a group of Native Americans landed on the San Francisco Bay island, launching a 19-month occupation based on an established legal principle of reclaiming abandoned federal lands for Native use.\u003c/p>\n\u003cp>Now, for the next 19 months — the same amount of time that the Indians of All Tribes called the island home — an exhibition in the New Industries Building on that occupation, titled \"\u003ca href=\"https://www.nps.gov/goga/red-power-on-alcatraz.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Red Power on Alcatraz\u003c/a>: Perspectives 50 Years Later,\" will be open to the public.\u003c/p>\n\u003cp>But the cliffside building was more than a gallery in recent days. It was a site of reunion, reflection and celebration.\u003c/p>\n\u003cp>The events commemorating the occupation on Saturday included an opening prayer and dedication to the exhibit by Geneva Seaboy, an original occupier. She thanked the National Park Service, which she called \"instrumental in putting the exhibit together.\"\u003c/p>\n\u003cfigure id=\"attachment_11788400\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11788400 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7019-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7019-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7019-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7019-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7019-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7019-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Elaine Duncan (left) and Geneva Seaboy (seated) watch a slideshow of photos taken by Brooks Townes, a sailor who brought the first organizers to the island and also was one of the first to photograph the occupation. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11788375\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11788375\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7146-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7146-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7146-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7146-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7146-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7146-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A teepee erected in the New Industries Building for the Red Power exhibition. Nov. 23, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Exhibitors Ilka Hartmann, Stephen Shames and Kent Blansett were present for the display to answer questions. Blansett and Dr. LaNada War Jack, another original occupier, gave presentations.\u003c/p>\n\u003cfigure id=\"attachment_11788423\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11788423 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7125-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7125-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7125-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7125-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7125-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7125-1920x1282.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kent Blansett, an associate professor of history and Native American Studies at the University of Nebraska at Omaha and a descendant of Cherokee, Creek, Choctaw, Shawnee and Potawatomi, speaks at Alcatraz on Nov. 23, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Blansett's display, \"Not Your Indians Anymore,\" features ephemera, original artifacts and rare media from his personal collection.\u003c/p>\n\u003cfigure id=\"attachment_11788365\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11788365 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7003-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7003-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7003-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7003-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7003-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7003-1920x1282.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ray St. Clair (Whitehawk) of White Earth, Minnesota, Ojibwe/Eagle Clan, wrapped in his Nation's flag, watches a video from Kent Blansett's display at Alcatraz on Nov. 23, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11788374\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11788374\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7122-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7122-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7122-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7122-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7122-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7122-1920x1282.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An original poster made by artist Joseph \"Indian Joe\" Morris (Blackfeet) featured at Alcatraz on Nov. 23, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11788379\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11788379\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7202-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7202-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7202-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7202-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7202-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7202-1920x1282.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ilka Hartmann sitting in front of one of her photographs at Alcatraz on Nov. 23, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11788373\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11788373\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7119-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7119-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7119-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7119-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7119-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7119-1920x1282.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Visitors look at large photographs taken by Ilka Hartmann at Alcatraz on Nov. 23, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>David Leach, who was the first to set foot on the island as an occupier, brought his son, Dana (Joe) Leach, to Alcatraz for the first time for the anniversary.\u003c/p>\n\u003cp>\"I never came here before because I couldn't afford it,\" Joe said.\u003c/p>\n\u003cp>Some photos of Joe's grandmother, Stella Means, who was a nurse on the island during the occupation, are in the show.\u003c/p>\n\u003cfigure id=\"attachment_11788372\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11788372\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7088-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7088-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7088-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7088-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7088-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7088-1920x1282.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Leach (Colville/Sioux) of Nespelem, poses in cell 13 in cell block A in Alcatraz on Nov. 23, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Toward the end of the event, Mutsun-Ohlone educator, singer and activist Kanyon Sayers-Roods read a letter written by her Ohlone relatives, whose ancestral land Alcatraz belongs to.\u003c/p>\n\u003cp>The letter said: \"Those on Alcatraz say they speak for all Indian people everywhere, but they do not... There is not one Ohlone Indian among those now on Alcatraz island.\"\u003c/p>\n\u003cp>Sayers-Roods said that although she supports the occupation herself, she chose to read the letter to honor the history and acknowledge differing perspectives.\u003c/p>\n\u003cp>\"I will do as much as I can for as long as I can, whenever I can and wherever I can, to honor truth in history and to be a good ancestor-in-training,\" said Sayers-Roods.\u003c/p>\n\u003cfigure id=\"attachment_11788378\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11788378\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7187-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7187-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7187-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7187-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7187-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7187-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kanyon Sayers-Roods (Ohlone/Chumash) speaks during the Red Power exhibit at Alcatraz on Nov. 23, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "The 19-month exhibition on Alcatraz mirrors the length of time the island was occupied by Native Americans in 1969.",
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"title": "PHOTOS: Alcatraz Occupation to Dedication, Different Time ... Same Place | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This month marks the 50th \u003ca href=\"https://www.kqed.org/arts/13870041/alcatraz-occupation-50\" target=\"_blank\" rel=\"noopener noreferrer\">anniversary of the occupation\u003c/a> of Alcatraz, when a group of Native Americans landed on the San Francisco Bay island, launching a 19-month occupation based on an established legal principle of reclaiming abandoned federal lands for Native use.\u003c/p>\n\u003cp>Now, for the next 19 months — the same amount of time that the Indians of All Tribes called the island home — an exhibition in the New Industries Building on that occupation, titled \"\u003ca href=\"https://www.nps.gov/goga/red-power-on-alcatraz.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Red Power on Alcatraz\u003c/a>: Perspectives 50 Years Later,\" will be open to the public.\u003c/p>\n\u003cp>But the cliffside building was more than a gallery in recent days. It was a site of reunion, reflection and celebration.\u003c/p>\n\u003cp>The events commemorating the occupation on Saturday included an opening prayer and dedication to the exhibit by Geneva Seaboy, an original occupier. She thanked the National Park Service, which she called \"instrumental in putting the exhibit together.\"\u003c/p>\n\u003cfigure id=\"attachment_11788400\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11788400 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7019-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7019-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7019-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7019-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7019-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7019-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Elaine Duncan (left) and Geneva Seaboy (seated) watch a slideshow of photos taken by Brooks Townes, a sailor who brought the first organizers to the island and also was one of the first to photograph the occupation. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11788375\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11788375\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7146-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7146-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7146-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7146-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7146-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7146-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A teepee erected in the New Industries Building for the Red Power exhibition. Nov. 23, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Exhibitors Ilka Hartmann, Stephen Shames and Kent Blansett were present for the display to answer questions. Blansett and Dr. LaNada War Jack, another original occupier, gave presentations.\u003c/p>\n\u003cfigure id=\"attachment_11788423\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11788423 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7125-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7125-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7125-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7125-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7125-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7125-1920x1282.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kent Blansett, an associate professor of history and Native American Studies at the University of Nebraska at Omaha and a descendant of Cherokee, Creek, Choctaw, Shawnee and Potawatomi, speaks at Alcatraz on Nov. 23, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Blansett's display, \"Not Your Indians Anymore,\" features ephemera, original artifacts and rare media from his personal collection.\u003c/p>\n\u003cfigure id=\"attachment_11788365\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11788365 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7003-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7003-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7003-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7003-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7003-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7003-1920x1282.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ray St. Clair (Whitehawk) of White Earth, Minnesota, Ojibwe/Eagle Clan, wrapped in his Nation's flag, watches a video from Kent Blansett's display at Alcatraz on Nov. 23, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11788374\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11788374\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7122-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7122-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7122-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7122-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7122-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7122-1920x1282.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An original poster made by artist Joseph \"Indian Joe\" Morris (Blackfeet) featured at Alcatraz on Nov. 23, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11788379\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11788379\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7202-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7202-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7202-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7202-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7202-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7202-1920x1282.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ilka Hartmann sitting in front of one of her photographs at Alcatraz on Nov. 23, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11788373\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11788373\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7119-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7119-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7119-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7119-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7119-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7119-1920x1282.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Visitors look at large photographs taken by Ilka Hartmann at Alcatraz on Nov. 23, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>David Leach, who was the first to set foot on the island as an occupier, brought his son, Dana (Joe) Leach, to Alcatraz for the first time for the anniversary.\u003c/p>\n\u003cp>\"I never came here before because I couldn't afford it,\" Joe said.\u003c/p>\n\u003cp>Some photos of Joe's grandmother, Stella Means, who was a nurse on the island during the occupation, are in the show.\u003c/p>\n\u003cfigure id=\"attachment_11788372\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11788372\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7088-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7088-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7088-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7088-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7088-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7088-1920x1282.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Leach (Colville/Sioux) of Nespelem, poses in cell 13 in cell block A in Alcatraz on Nov. 23, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Toward the end of the event, Mutsun-Ohlone educator, singer and activist Kanyon Sayers-Roods read a letter written by her Ohlone relatives, whose ancestral land Alcatraz belongs to.\u003c/p>\n\u003cp>The letter said: \"Those on Alcatraz say they speak for all Indian people everywhere, but they do not... There is not one Ohlone Indian among those now on Alcatraz island.\"\u003c/p>\n\u003cp>Sayers-Roods said that although she supports the occupation herself, she chose to read the letter to honor the history and acknowledge differing perspectives.\u003c/p>\n\u003cp>\"I will do as much as I can for as long as I can, whenever I can and wherever I can, to honor truth in history and to be a good ancestor-in-training,\" said Sayers-Roods.\u003c/p>\n\u003cfigure id=\"attachment_11788378\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11788378\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7187-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7187-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7187-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7187-1020x681.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7187-1200x801.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DSC7187-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kanyon Sayers-Roods (Ohlone/Chumash) speaks during the Red Power exhibit at Alcatraz on Nov. 23, 2019. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Would You, Could You Stop a Demagogue? 'The Resistible Rise of Arturo Ui' Asks the Question",
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"content": "\u003cp>In an age when comics struggle to top what’s happening in Washington, D.C., it’s worth recalling one German playwright who nailed political satire in the age of Adolf Hitler.\u003c/p>\n\u003cp>Bertolt Brecht’s 1941 play, \u003ca href=\"https://foothill.edu/theatre/productions/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Resistible Rise of Arturo Ui\u003c/em>\u003c/a>, is a dark but funny parable about the rise of fascism in 20th century Europe.\u003c/p>\n\u003cp>“Two hours and a half in which you’ll see extortion, murder, arson, larceny, bribery, blackmail, yellow journalism, and other by-products of capitalism,” say announcers Chayenne Greenberg and Parker Hough at the beginning of a Foothill Theatre Arts production up now in Los Altos Hills.\u003c/p>\n\u003cp>American playwright Bruce Norris adapted Brecht’s play two years ago, to take full advantage of the current political climate.\u003c/p>\n\u003cp>“We need to bring back law and order, folks. We need the right defensive measures. I’ll tell you what we need. We need a wall, a human shield to keep the bad ones out, and I’m the only one who can provide it,” says the title character, Arturo Ui, played with understated but effective malice by high school math teacher Anthony Silk.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ui is a small time mobster in 1930s Chicago running a protection racket in the local cauliflower business: his thugs ask grocers and wholesalers for money to protect them from the violence the thugs deliver if the hapless business folk don’t pay.\u003c/p>\n\u003cfigure id=\"attachment_13870311\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13870311\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/RS40257_Foothill_TheResistibleRiseOfArturoUi_AlexMinami6-ResizedDPI300-qut.jpg\" alt='Mob boss Arturo (Anthony Silk, left) gets word from his first lieutenant Roma (Asher Krohn, right) in \"The Resistible Rise of Arturo Ui,\" presented Nov. 8 – 24 at Foothill Theatre Arts, Los Altos Hills.' width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40257_Foothill_TheResistibleRiseOfArturoUi_AlexMinami6-ResizedDPI300-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40257_Foothill_TheResistibleRiseOfArturoUi_AlexMinami6-ResizedDPI300-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40257_Foothill_TheResistibleRiseOfArturoUi_AlexMinami6-ResizedDPI300-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40257_Foothill_TheResistibleRiseOfArturoUi_AlexMinami6-ResizedDPI300-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40257_Foothill_TheResistibleRiseOfArturoUi_AlexMinami6-ResizedDPI300-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40257_Foothill_TheResistibleRiseOfArturoUi_AlexMinami6-ResizedDPI300-qut-1200x801.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mob boss Arturo (Anthony Silk, left) gets word from his first lieutenant Roma (Asher Krohn, right) in “The Resistible Rise of Arturo Ui,” presented Nov. 8 – 24 at Foothill Theatre Arts, Los Altos Hills. \u003ccite>(Courtesy of Alex Minami)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Clad in a pin-striped suit and fedora, Ui masters the art of corrupting politicians and judges, while pandering to racists and reporters. “Playing this character who is somewhat the embodiment of both Trump and Hitler has been challenging, and there have been certainly days when I want to go home and take a shower,” Silk says.\u003c/p>\n\u003cp>At one point, Ui gets tutoring from a washed-up Shakespearean actor who teaches Ui the locution and physicality of epic villains like Richard III and Macbeth.\u003c/p>\n\u003cp>“At bloodshed, you experience arousal, and cruelty fills you with inspiration, while kindness only fills you with disgust. You are the very textbook definition of a sociopath!” says grieving widow Betty Dullfeet, played by Margaret Allen. Dullfeet, though, ends up capitulating, too, just like everyone else who doesn’t want to die.\u003c/p>\n\u003cp>Director Bruce McLeod says he wants the audience to think about complicity. Remember, the play’s called the “resistible” rise of Arturo Ui. “Most of [Brecht’s] plays deal in some way with how we deal with people in power. By not doing something, you are essentially acquiescing to people who will take advantage of the situation,” McLeod says.\u003c/p>\n\u003cp>Or as Ui says in the play, “History’s violent and indecent. But as political scientists observe, we only get the leaders we deserve.”\u003c/p>\n\u003cfigure id=\"attachment_13870312\" class=\"wp-caption aligncenter\" style=\"max-width: 3000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13870312\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/RS40256_Foothill_TheResistibleRiseOfArturoUi_AlexMinami3.jpg\" alt='Gangsters Flake (Jessica Lopang, left) and Butcher (Brittany Williams, right) offer a bribe to Dogsborough (George Mauro, center) in \"The Resistible Rise of Arturo Ui,\" presented Nov. 8 – 24 at Foothill Theatre Arts, Los Altos Hills.' width=\"3000\" height=\"2002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40256_Foothill_TheResistibleRiseOfArturoUi_AlexMinami3.jpg 3000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40256_Foothill_TheResistibleRiseOfArturoUi_AlexMinami3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40256_Foothill_TheResistibleRiseOfArturoUi_AlexMinami3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40256_Foothill_TheResistibleRiseOfArturoUi_AlexMinami3-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40256_Foothill_TheResistibleRiseOfArturoUi_AlexMinami3-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40256_Foothill_TheResistibleRiseOfArturoUi_AlexMinami3-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40256_Foothill_TheResistibleRiseOfArturoUi_AlexMinami3-1920x1281.jpg 1920w\" sizes=\"(max-width: 3000px) 100vw, 3000px\">\u003cfigcaption class=\"wp-caption-text\">Gangsters Flake (Jessica Lopang, left) and Butcher (Brittany Williams, right) offer a bribe to Dogsborough (George Mauro, center) in “The Resistible Rise of Arturo Ui,” presented Nov. 8 – 24 at Foothill Theatre Arts, Los Altos Hills. \u003ccite>(Courtesy of Alex Minami)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sure, it’s easy to complain about Hitler and other demagogues. But, Brecht is asking, what are you going to do about it?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Foothill Theatre Arts delivers \u003cstrong>The Resistible Rise of Arturo Ui\u003c/strong> through November 24, 2019 at Foothill College in Los Altos Hills. For more information, click \u003ca href=\"https://foothill.edu/theatre/productions/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In an age when comics struggle to top what’s happening in Washington, D.C., it’s worth recalling one German playwright who nailed political satire in the age of Adolf Hitler.\u003c/p>\n\u003cp>Bertolt Brecht’s 1941 play, \u003ca href=\"https://foothill.edu/theatre/productions/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Resistible Rise of Arturo Ui\u003c/em>\u003c/a>, is a dark but funny parable about the rise of fascism in 20th century Europe.\u003c/p>\n\u003cp>“Two hours and a half in which you’ll see extortion, murder, arson, larceny, bribery, blackmail, yellow journalism, and other by-products of capitalism,” say announcers Chayenne Greenberg and Parker Hough at the beginning of a Foothill Theatre Arts production up now in Los Altos Hills.\u003c/p>\n\u003cp>American playwright Bruce Norris adapted Brecht’s play two years ago, to take full advantage of the current political climate.\u003c/p>\n\u003cp>“We need to bring back law and order, folks. We need the right defensive measures. I’ll tell you what we need. We need a wall, a human shield to keep the bad ones out, and I’m the only one who can provide it,” says the title character, Arturo Ui, played with understated but effective malice by high school math teacher Anthony Silk.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ui is a small time mobster in 1930s Chicago running a protection racket in the local cauliflower business: his thugs ask grocers and wholesalers for money to protect them from the violence the thugs deliver if the hapless business folk don’t pay.\u003c/p>\n\u003cfigure id=\"attachment_13870311\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13870311\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/RS40257_Foothill_TheResistibleRiseOfArturoUi_AlexMinami6-ResizedDPI300-qut.jpg\" alt='Mob boss Arturo (Anthony Silk, left) gets word from his first lieutenant Roma (Asher Krohn, right) in \"The Resistible Rise of Arturo Ui,\" presented Nov. 8 – 24 at Foothill Theatre Arts, Los Altos Hills.' width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40257_Foothill_TheResistibleRiseOfArturoUi_AlexMinami6-ResizedDPI300-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40257_Foothill_TheResistibleRiseOfArturoUi_AlexMinami6-ResizedDPI300-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40257_Foothill_TheResistibleRiseOfArturoUi_AlexMinami6-ResizedDPI300-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40257_Foothill_TheResistibleRiseOfArturoUi_AlexMinami6-ResizedDPI300-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40257_Foothill_TheResistibleRiseOfArturoUi_AlexMinami6-ResizedDPI300-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40257_Foothill_TheResistibleRiseOfArturoUi_AlexMinami6-ResizedDPI300-qut-1200x801.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Mob boss Arturo (Anthony Silk, left) gets word from his first lieutenant Roma (Asher Krohn, right) in “The Resistible Rise of Arturo Ui,” presented Nov. 8 – 24 at Foothill Theatre Arts, Los Altos Hills. \u003ccite>(Courtesy of Alex Minami)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Clad in a pin-striped suit and fedora, Ui masters the art of corrupting politicians and judges, while pandering to racists and reporters. “Playing this character who is somewhat the embodiment of both Trump and Hitler has been challenging, and there have been certainly days when I want to go home and take a shower,” Silk says.\u003c/p>\n\u003cp>At one point, Ui gets tutoring from a washed-up Shakespearean actor who teaches Ui the locution and physicality of epic villains like Richard III and Macbeth.\u003c/p>\n\u003cp>“At bloodshed, you experience arousal, and cruelty fills you with inspiration, while kindness only fills you with disgust. You are the very textbook definition of a sociopath!” says grieving widow Betty Dullfeet, played by Margaret Allen. Dullfeet, though, ends up capitulating, too, just like everyone else who doesn’t want to die.\u003c/p>\n\u003cp>Director Bruce McLeod says he wants the audience to think about complicity. Remember, the play’s called the “resistible” rise of Arturo Ui. “Most of [Brecht’s] plays deal in some way with how we deal with people in power. By not doing something, you are essentially acquiescing to people who will take advantage of the situation,” McLeod says.\u003c/p>\n\u003cp>Or as Ui says in the play, “History’s violent and indecent. But as political scientists observe, we only get the leaders we deserve.”\u003c/p>\n\u003cfigure id=\"attachment_13870312\" class=\"wp-caption aligncenter\" style=\"max-width: 3000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13870312\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/RS40256_Foothill_TheResistibleRiseOfArturoUi_AlexMinami3.jpg\" alt='Gangsters Flake (Jessica Lopang, left) and Butcher (Brittany Williams, right) offer a bribe to Dogsborough (George Mauro, center) in \"The Resistible Rise of Arturo Ui,\" presented Nov. 8 – 24 at Foothill Theatre Arts, Los Altos Hills.' width=\"3000\" height=\"2002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40256_Foothill_TheResistibleRiseOfArturoUi_AlexMinami3.jpg 3000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40256_Foothill_TheResistibleRiseOfArturoUi_AlexMinami3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40256_Foothill_TheResistibleRiseOfArturoUi_AlexMinami3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40256_Foothill_TheResistibleRiseOfArturoUi_AlexMinami3-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40256_Foothill_TheResistibleRiseOfArturoUi_AlexMinami3-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40256_Foothill_TheResistibleRiseOfArturoUi_AlexMinami3-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS40256_Foothill_TheResistibleRiseOfArturoUi_AlexMinami3-1920x1281.jpg 1920w\" sizes=\"(max-width: 3000px) 100vw, 3000px\">\u003cfigcaption class=\"wp-caption-text\">Gangsters Flake (Jessica Lopang, left) and Butcher (Brittany Williams, right) offer a bribe to Dogsborough (George Mauro, center) in “The Resistible Rise of Arturo Ui,” presented Nov. 8 – 24 at Foothill Theatre Arts, Los Altos Hills. \u003ccite>(Courtesy of Alex Minami)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sure, it’s easy to complain about Hitler and other demagogues. But, Brecht is asking, what are you going to do about it?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Foothill Theatre Arts delivers \u003cstrong>The Resistible Rise of Arturo Ui\u003c/strong> through November 24, 2019 at Foothill College in Los Altos Hills. For more information, click \u003ca href=\"https://foothill.edu/theatre/productions/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>Democratic Debate and Second Week of Impeachment Hearings\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">On Wednesday, 10 candidates faced off for a Democratic presidential debate held in Atlanta. Reflecting his surge in the polls, South Bend Mayor Pete Buttigieg came under fire for his political inexperience, while California Sen. Kamala Harris tried to regain momentum in her flagging campaign. Meanwhile, on Capitol Hill, House Democrats heard from nine witnesses this week in their impeachment investigation of President Trump. Ambassador to the European Union Gordon Sondland and former White House adviser Fiona Hill were among those who testified. Sondland said that there was, in fact, a quid pro quo for the release of military aid to Ukraine, while Hill characterized the pressure campaign as a “domestic political errand” being run by Sondland and other White House officials.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Guests:\u003c/b>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Joe Garofoli, senior political writer, San Francisco Chronicle\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Aimee Allison, founder and president, She the People\u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cb>Latest PG&E Power Shutoff\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">On Wednesday, utility giant PG&E began shutting off power to customers in parts of 11 counties in Northern California, including Napa and Sonoma. PG&E had earlier warned that the outages could affect 300,000 customers, but changing weather conditions ultimately left only about 50,000 customers without power this week. It’s the second consecutive month that PG&E has preemptively cut off power to avoid sparking a wildfire with its equipment during dry and gusty winds. On Monday, lawmakers in Sacramento called executives from the state’s three largest investor-owned utilities, including PG&E, to testify about the impact from last month’s power outages. At the hearing, PG&E CEO Bill Johnson said the shutoffs are “not a sustainable solution” to the threat of wildfires, which have become more intense and deadly in recent years. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Guest:\u003c/b>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Dan Brekke, KQED reporter and editor\u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cb>Alcatraz Occupation Anniversary\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">Wednesday marked the 50th anniversary of the occupation of Alcatraz Island by Native American students and community leaders. Calling themselves the “Indians of All Tribes,” the group of 89 activists took over the former penitentiary to protest unjust federal policies against Native Americans, including relocation and termination of sovereign tribal rights. The occupation ended when armed federal marshals raided the island 19 months later in June 1971. Today, a new generation of activists is commemorating this historic takeover and affirming why, in the words of one of the occupation’s leaders, Alcatraz is an idea, not an island.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Guest:\u003c/b>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Eloy Martinez, Native American activist \u003c/span>\u003c/li>\n\u003c/ul>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Democratic Debate and Second Week of Impeachment Hearings\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">On Wednesday, 10 candidates faced off for a Democratic presidential debate held in Atlanta. Reflecting his surge in the polls, South Bend Mayor Pete Buttigieg came under fire for his political inexperience, while California Sen. Kamala Harris tried to regain momentum in her flagging campaign. Meanwhile, on Capitol Hill, House Democrats heard from nine witnesses this week in their impeachment investigation of President Trump. Ambassador to the European Union Gordon Sondland and former White House adviser Fiona Hill were among those who testified. Sondland said that there was, in fact, a quid pro quo for the release of military aid to Ukraine, while Hill characterized the pressure campaign as a “domestic political errand” being run by Sondland and other White House officials.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Guests:\u003c/b>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Joe Garofoli, senior political writer, San Francisco Chronicle\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Aimee Allison, founder and president, She the People\u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cb>Latest PG&E Power Shutoff\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">On Wednesday, utility giant PG&E began shutting off power to customers in parts of 11 counties in Northern California, including Napa and Sonoma. PG&E had earlier warned that the outages could affect 300,000 customers, but changing weather conditions ultimately left only about 50,000 customers without power this week. It’s the second consecutive month that PG&E has preemptively cut off power to avoid sparking a wildfire with its equipment during dry and gusty winds. On Monday, lawmakers in Sacramento called executives from the state’s three largest investor-owned utilities, including PG&E, to testify about the impact from last month’s power outages. At the hearing, PG&E CEO Bill Johnson said the shutoffs are “not a sustainable solution” to the threat of wildfires, which have become more intense and deadly in recent years. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Guest:\u003c/b>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Dan Brekke, KQED reporter and editor\u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cb>Alcatraz Occupation Anniversary\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">Wednesday marked the 50th anniversary of the occupation of Alcatraz Island by Native American students and community leaders. Calling themselves the “Indians of All Tribes,” the group of 89 activists took over the former penitentiary to protest unjust federal policies against Native Americans, including relocation and termination of sovereign tribal rights. The occupation ended when armed federal marshals raided the island 19 months later in June 1971. Today, a new generation of activists is commemorating this historic takeover and affirming why, in the words of one of the occupation’s leaders, Alcatraz is an idea, not an island.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Interactive Art Installation Lets Strangers Talk To Each Other Across The Border",
"headTitle": "Interactive Art Installation Lets Strangers Talk To Each Other Across The Border | KQED",
"content": "\u003cp>For several nights this month, searchlights have been illuminating the sky on the U.S.-Mexico border between El Paso, Texas, and Ciudad Juárez, Mexico. They don’t have anything to do with stepped-up border enforcement. Instead, they’re part of a binational art installation that aims to connect people on both sides of the Rio Grande.\u003c/p>\n\u003cp>The large-scale interactive installation is called Border Tuner. Here’s how it works: You step up to a microphone and turn a small wheel that controls a set of searchlights. Someone at another station just across the border does the same. When your lights intersect in the sky, it opens a two-way channel of communication.\u003c/p>\n\u003cp>You can’t see each other’s faces, but you can hear each other’s voices, booming from a loudspeaker. And you can start a conversation.\u003c/p>\n\u003cp>[aside postID=arts_13862548,arts_12291457,arts_13863441]\u003c/p>\n\u003cp>On a chilly night this week, Edna Leon leaned into a microphone at one of the stations outside Bowie High School, where there are three tuner stations. On the other side of the border in Juárez, Chamizal Park has three stations.\u003c/p>\n\u003cp>“Buenas noches,” Leon said, tentatively, unsure who was on the other end. Three large searchlights flickered in time with her voice.\u003c/p>\n\u003cp>A response came back over the loudspeaker: “Buenas, buenas.”\u003c/p>\n\u003cp>Leon introduced herself. She explained that she lives in El Paso but is originally from Meoqui, in the Mexican state of Chihuahua.\u003c/p>\n\u003cp>“I have roots there, but it’s a struggle to be able to go” and visit, she said in Spanish. “So it makes me emotional to be able to communicate with my country without barriers, a passport, inspections.”\u003c/p>\n\u003cp>“How beautiful,” said her conversation partner.\u003c/p>\n\u003cp>Border Tuner, which ends on Sunday, was two years in the making. It’s the brainchild of electronic artist Rafael Lozano-Hemmer. He’s originally from Mexico City and is now based in Montreal.\u003c/p>\n\u003cp>Lozano-Hemmer has created interactive sound and light installations all over the world, including in Abu Dhabi and Dublin. He had been drawn to the U.S.-Mexico border for years, but his desire to work here intensified after President Trump’s election. He began meeting with artists in the region.\u003c/p>\n\u003cp>“I realized that everybody in the field is tired of a very specific border story coming out about divisiveness, about racism, about militarization,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13870295\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870295\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/border-tuner-3_custom-s800-c85-800x529.jpg\" alt=\"Surrounded by beams of lights, a man walks up to a microphone and tells the person across the border that he's new to El Paso. He moved here a few years ago from Ciudad Juarez, and says he misses it. The voice on the other side tells him to visit and they'll get tacos together.\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/border-tuner-3_custom-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/border-tuner-3_custom-s800-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/border-tuner-3_custom-s800-c85-768x508.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Surrounded by beams of lights, a man walks up to a microphone and tells the person across the border that he’s new to El Paso. He moved here a few years ago from Ciudad Juarez, and says he misses it. The voice on the other side tells him to visit and they’ll get tacos together. \u003ccite>(Carlos Morales/Marfa Public Radio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“While all of this is true, there’s so many other narratives that are being missed about interdependence and coexistence and about the fact that connections between, at least, El Paso and Ciudad Juárez go deep historically, fraternally, socially, environmentally, economically,\u003cstrong>“\u003c/strong> he said.\u003c/p>\n\u003cp>Lozano-Hemmer designed a project to highlight those connections, in partnership with the Rubin Center for the Visual Arts at the University of Texas at El Paso and the El Paso Community Foundation.\u003c/p>\n\u003cp>Pulling off a large-scale art installation across international lines was no easy feat. Lozano-Hemmer had to coordinate with authorities on both sides of the border, including the Department of Homeland Security and the Federal Aviation Administration.\u003c/p>\n\u003cp>And when the U.S. government replaced a border fence between Bowie High School and Chamizal Park with new, stronger material, Lozano-Hemmer says he had to adapt his technology. Now, the searchlights form a sort of bridge above the barrier.\u003c/p>\n\u003cp>“The idea that the artwork takes place above that wall to me is symbolically important because it’s almost like you’re trying to ignore it,” Lozano-Hemmer said. “You’re trying to say we still share the atmosphere.”\u003c/p>\n\u003cp>Each night of the installation begins with a 30-minute curated performance by local artists, activists, and historians. There have been programs focused on indigenous voices, and on voices from the LGBTQ community. There was a cumbia night, and a night full of cover bands paying tribute to Juan Gabriel and Selena.\u003c/p>\n\u003cp>But the most intimate moments come when strangers connect. Two children discuss their favorite animals. An attorney who volunteers with asylum seekers and a middle school art teacher thank each other for their work. A woman in El Paso apologizes for President Trump; her conversation partner, in Juárez, tells her not to worry and that “he’s only one person.” Two women discover they love to sing, and perform a song together, their voices harmonizing through beams of light.\u003c/p>\n\u003cp>A young girl named Anabella celebrated her eighth birthday at Border Tuner. Small crowds on both sides of the border sang “Happy Birthday” in English and Spanish.\u003c/p>\n\u003cp>“It was really cool for my daughter to be able to experience something this magical on her birthday,” said Anabella’s mother, Tracy Harris. She said the installation has been a learning opportunity for her two children. “It just kind of hits them like, ‘Hey, there’s other kids, there’s other people over there, and they’re like us.'”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 KERA. To see more, visit \u003ca href=\"https://www.kera.org/\">KERA\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Interactive+Art+Installation+Lets+Strangers+Talk+To+Each+Other+Across+The+Border&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For several nights this month, searchlights have been illuminating the sky on the U.S.-Mexico border between El Paso, Texas, and Ciudad Juárez, Mexico. They don’t have anything to do with stepped-up border enforcement. Instead, they’re part of a binational art installation that aims to connect people on both sides of the Rio Grande.\u003c/p>\n\u003cp>The large-scale interactive installation is called Border Tuner. Here’s how it works: You step up to a microphone and turn a small wheel that controls a set of searchlights. Someone at another station just across the border does the same. When your lights intersect in the sky, it opens a two-way channel of communication.\u003c/p>\n\u003cp>You can’t see each other’s faces, but you can hear each other’s voices, booming from a loudspeaker. And you can start a conversation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On a chilly night this week, Edna Leon leaned into a microphone at one of the stations outside Bowie High School, where there are three tuner stations. On the other side of the border in Juárez, Chamizal Park has three stations.\u003c/p>\n\u003cp>“Buenas noches,” Leon said, tentatively, unsure who was on the other end. Three large searchlights flickered in time with her voice.\u003c/p>\n\u003cp>A response came back over the loudspeaker: “Buenas, buenas.”\u003c/p>\n\u003cp>Leon introduced herself. She explained that she lives in El Paso but is originally from Meoqui, in the Mexican state of Chihuahua.\u003c/p>\n\u003cp>“I have roots there, but it’s a struggle to be able to go” and visit, she said in Spanish. “So it makes me emotional to be able to communicate with my country without barriers, a passport, inspections.”\u003c/p>\n\u003cp>“How beautiful,” said her conversation partner.\u003c/p>\n\u003cp>Border Tuner, which ends on Sunday, was two years in the making. It’s the brainchild of electronic artist Rafael Lozano-Hemmer. He’s originally from Mexico City and is now based in Montreal.\u003c/p>\n\u003cp>Lozano-Hemmer has created interactive sound and light installations all over the world, including in Abu Dhabi and Dublin. He had been drawn to the U.S.-Mexico border for years, but his desire to work here intensified after President Trump’s election. He began meeting with artists in the region.\u003c/p>\n\u003cp>“I realized that everybody in the field is tired of a very specific border story coming out about divisiveness, about racism, about militarization,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13870295\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870295\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/border-tuner-3_custom-s800-c85-800x529.jpg\" alt=\"Surrounded by beams of lights, a man walks up to a microphone and tells the person across the border that he's new to El Paso. He moved here a few years ago from Ciudad Juarez, and says he misses it. The voice on the other side tells him to visit and they'll get tacos together.\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/border-tuner-3_custom-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/border-tuner-3_custom-s800-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/border-tuner-3_custom-s800-c85-768x508.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Surrounded by beams of lights, a man walks up to a microphone and tells the person across the border that he’s new to El Paso. He moved here a few years ago from Ciudad Juarez, and says he misses it. The voice on the other side tells him to visit and they’ll get tacos together. \u003ccite>(Carlos Morales/Marfa Public Radio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“While all of this is true, there’s so many other narratives that are being missed about interdependence and coexistence and about the fact that connections between, at least, El Paso and Ciudad Juárez go deep historically, fraternally, socially, environmentally, economically,\u003cstrong>“\u003c/strong> he said.\u003c/p>\n\u003cp>Lozano-Hemmer designed a project to highlight those connections, in partnership with the Rubin Center for the Visual Arts at the University of Texas at El Paso and the El Paso Community Foundation.\u003c/p>\n\u003cp>Pulling off a large-scale art installation across international lines was no easy feat. Lozano-Hemmer had to coordinate with authorities on both sides of the border, including the Department of Homeland Security and the Federal Aviation Administration.\u003c/p>\n\u003cp>And when the U.S. government replaced a border fence between Bowie High School and Chamizal Park with new, stronger material, Lozano-Hemmer says he had to adapt his technology. Now, the searchlights form a sort of bridge above the barrier.\u003c/p>\n\u003cp>“The idea that the artwork takes place above that wall to me is symbolically important because it’s almost like you’re trying to ignore it,” Lozano-Hemmer said. “You’re trying to say we still share the atmosphere.”\u003c/p>\n\u003cp>Each night of the installation begins with a 30-minute curated performance by local artists, activists, and historians. There have been programs focused on indigenous voices, and on voices from the LGBTQ community. There was a cumbia night, and a night full of cover bands paying tribute to Juan Gabriel and Selena.\u003c/p>\n\u003cp>But the most intimate moments come when strangers connect. Two children discuss their favorite animals. An attorney who volunteers with asylum seekers and a middle school art teacher thank each other for their work. A woman in El Paso apologizes for President Trump; her conversation partner, in Juárez, tells her not to worry and that “he’s only one person.” Two women discover they love to sing, and perform a song together, their voices harmonizing through beams of light.\u003c/p>\n\u003cp>A young girl named Anabella celebrated her eighth birthday at Border Tuner. Small crowds on both sides of the border sang “Happy Birthday” in English and Spanish.\u003c/p>\n\u003cp>“It was really cool for my daughter to be able to experience something this magical on her birthday,” said Anabella’s mother, Tracy Harris. She said the installation has been a learning opportunity for her two children. “It just kind of hits them like, ‘Hey, there’s other kids, there’s other people over there, and they’re like us.'”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 KERA. To see more, visit \u003ca href=\"https://www.kera.org/\">KERA\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Interactive+Art+Installation+Lets+Strangers+Talk+To+Each+Other+Across+The+Border&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Staff at Mills College are following in the footsteps of the Oakland liberal arts institution’s adjunct faculty members by unionizing as part of a broader organized labor trend in Bay Area higher education. [aside postID=arts_13855321,arts_12248119,arts_13389908] \u003c/p>\n\u003cp>Last month Mills staff announced the campaign to unionize with Service Employees International Union (SEIU) Local 1021, which also represents Mills faculty and this year \u003ca href=\"https://www.kqed.org/arts/13855321/california-college-of-the-arts-campus-consolidation-spurs-union-effort\">organized staff\u003c/a> at California College of the Arts. Organizers say the effort has widespread support on campus and estimated more than 200 employees are eligible for the bargaining unit. \u003c/p>\n\u003cp>On Thursday, members of the staff organizing committee, joined by a student supporter, delivered a letter to Elizabeth Hillman, the school’s president, requesting the administration voluntarily recognize the union in order to avoid a costly, potentially contentious election process through the National Labor Relations Board. “We seek to cultivate a partnership with College administration that honors the overwhelming support for unionization among Mills staff,” it reads.\u003c/p>\n\u003cp>“When it comes to labor unions, Mills embraces the democratic principle of free and fair decision-making by employees,” said Hillman, who’s led Mills since 2016, in a statement to KQED. “We’re now assessing how the possibility of unionization would affect our efforts to work together with our faculty and the entire community to ensure a sustainable future for Mills.”\u003c/p>\n\u003cp>Workers in various departments say they’re organizing for higher wages, stronger benefits and greater representation in institutional decision-making as Mills rebounds from a “financial emergency” two years ago. Like faculty and staff at other local colleges to unionize in recent years, they’re motivated to address issues such as wage stagnation, with incoming employees earning more than longtime ones in similar roles, by the rising cost-of-living in the Bay Area. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Mills has a social-justice and diversity policy that’s public and is supposed to drive institutional decisions around staffing and pedagogy,” said Brendan Glasson, a 2018 Mills graduate and staff organizer who now works as the music center technical director. “This is about helping Mills adhere itself further to its commitments to equity and sustainable working conditions.” \u003c/p>\n\u003cp>Some Mills staff have gone as many as eight years without raises, and benefits such as retirement contributions have declined as well, according to staff organizers. Employees have also been laid off and then encouraged to reapply for similar positions with added responsibilities. For example, Madison Davis, an alum and staff organizer who’s worked as a Mills fundraiser since 2017, said her job was previously divided between two people. \u003c/p>\n\u003cp>Due to the working conditions and low morale, Mills struggles with employee retention, and union organizers point out that rapid staff turnover also diminishes the student experience. “As a longtime employee, I’m watching Mills become a place where people work for 2-5 years and then leave, and that’s not particularly sustainable for us or our students,” said Vala Burnett, a Mills alum and staff organizer who’s worked as a health-sciences coordinator since 2005.\u003c/p>\n\u003cp>Mills, a private college for women and gender non-binary students, with graduate programs for all genders, declared a financial emergency in 2017 to resolve a $9 million deficit, and moved to fire eleven professors, many of them tenured, \u003ca href=\"https://www.kqed.org/arts/13389908/jazz-pioneer-roscoe-mitchell-marked-for-dismissal-at-mills-college\">including\u003c/a> the internationally renowned composer and improviser Roscoe Mitchell. The American Association of University Professors criticized the administration for “declining to consider … alternatives to terminating faculty appointments.” \u003c/p>\n\u003cp>Beyond forcing out Mitchell, an important draw for music students, the crisis dramatically affected the \u003ca href=\"https://www.kqed.org/arts/12248119/fifty-years-of-limitless-possibility-at-the-center-for-contemporary-music-at-mills-college\">storied Center for Contemporary Music\u003c/a>: Co-directors Chris Brown and Maggi Payne, longtime campus and music scene fixtures, retired early in the hopes of pre-empting additional cuts. Several other departments were also marked for downsizing as the school struggled to increase enrollment and, in the view of critics, prioritized sciences over liberal arts.\u003c/p>\n\u003cp>“Like many other small colleges, we are continuing to manage a budget deficit created by investment in new programs and lower enrollments,” Hillman said in a statement. \u003c/p>\n\u003cp>In the wake of the restructuring—part of a financial stabilization plan aiming to balance the budget by next year—Mills staff believe unionizing will give them greater representation in cost-cutting decisions in order to avoid or mitigate the effects of similar layoffs. “So it’s also about transparency,” Burnett said. “Through this process we get to the table, we get to open the books, and then staff is positioned to bring our knowledge to help Mills solve its problems.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>SEIU Local 1021, which represents staff and faculty at several local private colleges, helped Mills adjuncts ratify their first union contract in 2016. According to the union, the contract provided adjuncts with an average 13-percent raise, protection against reduction of benefits and more say in working conditions. SEIU, known for representing public employees, has been organizing adjunct professors in recent years as part of its “Faculty Forward” campaign.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp> \u003c/p>\n\u003cp>Last month Mills staff announced the campaign to unionize with Service Employees International Union (SEIU) Local 1021, which also represents Mills faculty and this year \u003ca href=\"https://www.kqed.org/arts/13855321/california-college-of-the-arts-campus-consolidation-spurs-union-effort\">organized staff\u003c/a> at California College of the Arts. Organizers say the effort has widespread support on campus and estimated more than 200 employees are eligible for the bargaining unit. \u003c/p>\n\u003cp>On Thursday, members of the staff organizing committee, joined by a student supporter, delivered a letter to Elizabeth Hillman, the school’s president, requesting the administration voluntarily recognize the union in order to avoid a costly, potentially contentious election process through the National Labor Relations Board. “We seek to cultivate a partnership with College administration that honors the overwhelming support for unionization among Mills staff,” it reads.\u003c/p>\n\u003cp>“When it comes to labor unions, Mills embraces the democratic principle of free and fair decision-making by employees,” said Hillman, who’s led Mills since 2016, in a statement to KQED. “We’re now assessing how the possibility of unionization would affect our efforts to work together with our faculty and the entire community to ensure a sustainable future for Mills.”\u003c/p>\n\u003cp>Workers in various departments say they’re organizing for higher wages, stronger benefits and greater representation in institutional decision-making as Mills rebounds from a “financial emergency” two years ago. Like faculty and staff at other local colleges to unionize in recent years, they’re motivated to address issues such as wage stagnation, with incoming employees earning more than longtime ones in similar roles, by the rising cost-of-living in the Bay Area. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Mills has a social-justice and diversity policy that’s public and is supposed to drive institutional decisions around staffing and pedagogy,” said Brendan Glasson, a 2018 Mills graduate and staff organizer who now works as the music center technical director. “This is about helping Mills adhere itself further to its commitments to equity and sustainable working conditions.” \u003c/p>\n\u003cp>Some Mills staff have gone as many as eight years without raises, and benefits such as retirement contributions have declined as well, according to staff organizers. Employees have also been laid off and then encouraged to reapply for similar positions with added responsibilities. For example, Madison Davis, an alum and staff organizer who’s worked as a Mills fundraiser since 2017, said her job was previously divided between two people. \u003c/p>\n\u003cp>Due to the working conditions and low morale, Mills struggles with employee retention, and union organizers point out that rapid staff turnover also diminishes the student experience. “As a longtime employee, I’m watching Mills become a place where people work for 2-5 years and then leave, and that’s not particularly sustainable for us or our students,” said Vala Burnett, a Mills alum and staff organizer who’s worked as a health-sciences coordinator since 2005.\u003c/p>\n\u003cp>Mills, a private college for women and gender non-binary students, with graduate programs for all genders, declared a financial emergency in 2017 to resolve a $9 million deficit, and moved to fire eleven professors, many of them tenured, \u003ca href=\"https://www.kqed.org/arts/13389908/jazz-pioneer-roscoe-mitchell-marked-for-dismissal-at-mills-college\">including\u003c/a> the internationally renowned composer and improviser Roscoe Mitchell. The American Association of University Professors criticized the administration for “declining to consider … alternatives to terminating faculty appointments.” \u003c/p>\n\u003cp>Beyond forcing out Mitchell, an important draw for music students, the crisis dramatically affected the \u003ca href=\"https://www.kqed.org/arts/12248119/fifty-years-of-limitless-possibility-at-the-center-for-contemporary-music-at-mills-college\">storied Center for Contemporary Music\u003c/a>: Co-directors Chris Brown and Maggi Payne, longtime campus and music scene fixtures, retired early in the hopes of pre-empting additional cuts. Several other departments were also marked for downsizing as the school struggled to increase enrollment and, in the view of critics, prioritized sciences over liberal arts.\u003c/p>\n\u003cp>“Like many other small colleges, we are continuing to manage a budget deficit created by investment in new programs and lower enrollments,” Hillman said in a statement. \u003c/p>\n\u003cp>In the wake of the restructuring—part of a financial stabilization plan aiming to balance the budget by next year—Mills staff believe unionizing will give them greater representation in cost-cutting decisions in order to avoid or mitigate the effects of similar layoffs. “So it’s also about transparency,” Burnett said. “Through this process we get to the table, we get to open the books, and then staff is positioned to bring our knowledge to help Mills solve its problems.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>SEIU Local 1021, which represents staff and faculty at several local private colleges, helped Mills adjuncts ratify their first union contract in 2016. According to the union, the contract provided adjuncts with an average 13-percent raise, protection against reduction of benefits and more say in working conditions. SEIU, known for representing public employees, has been organizing adjunct professors in recent years as part of its “Faculty Forward” campaign.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On the face of it, director Marielle Heller’s exhilaratingly impolite indie resume doesn’t make her an intuitive fit for a movie about the nicest man in the world — let alone a big studio picture starring nice Tom Hanks.\u003c/p>\n\u003cp>Heller’s 2015 feature debut, \u003cem>The Diary of a Teenage Girl\u003c/em>, was voiced by a sorry-not-sorry young woman who initiates an affair with her mother’s boyfriend. In her second, last year’s \u003cem>Can You Ever Forgive Me?\u003c/em>, Heller cast the beloved Melissa McCarthy as the robustly unlikable real-life literary forger Lee Israel. Next to Mister Rogers — in the eyes of many, a saint and a children’s hero — these two seem not to stack up.\u003c/p>\n\u003cp>Heller is not much into saints, but she delights in ill-fitting outliers. And Fred Rogers, in his slow and soft-voiced way, was a willing anachronism to the brash new late-sixties world that greeted the arrival on PBS of his earnestly old-fangled children’s television show, \u003cem>Mr. Rogers’ Neighborhood\u003c/em>. Rogers’ real-life buddy, journalist Tom Junod (Matthew Rhys plays Junod’s cinematic stand-in “Lloyd Vogel” in Heller’s film) lovingly described the kid-show-host as “a rather peculiar man.”\u003c/p>\n\u003cp> [aside tag='fred-rogers, mister-rogers, fredrogers, misterrogers' label='Learning from Mister Rogers']\u003c/p>\n\u003cp>So he was, and how much more so he seems now, in today’s quarrelsome noise. Rogers was a Presbyterian minister and theologian whose on-set uniform was a comfy cardigan, tie, and sneakers. Turned off by the shrieking pie-in-the face cartoons that were standard children’s television fare, he slowed the pace way down, listened to children’s darkest fears and anxieties without wishing them away, and showed them how to manage those fears. The roots of his empathy in his own troubled childhood were beautifully told in Morgan Neville’s lovely 2018 documentary, \u003cem>Won’t You Be My Neighbor?\u003c/em>, which became the top-grossing biographical documentary ever.\u003c/p>\n\u003cp>\u003cem>A Beautiful Day\u003c/em> is not that story; it’s not really Fred’s story at all. The movie is a kind of procedural that shows how Rogers worked — persnickety and willfully distractible, he drove his adoring crew round the bend — on and off the set the set of his show, in this case to free an unhappy man of an enormous psychological burden he’d carried all his life. Inspired by Junod’s 1998 \u003cem>Esquire\u003c/em> cover, the film turns on the unexpected friendship that grew between the two men out of an assignment that the hard-hitting news reporter was forced into by his hard-nosed editor. (Were he alive today, I’m sure Fred would join me in saying: So nice to see you again, Christine Lahti!). Sensitively played by Rhys (\u003cem>The Americans\u003c/em>), Lloyd is a glum and grumpy fellow despite his glitzy job and new fatherhood with a supportive wife (Susan Kelechi Watson).\u003c/p>\n\u003cp>Within minutes of their first phone call, Rogers (Tom Hanks) senses that Lloyd is in unresolved emotional trouble. The movie’s running joke, and its tenderly serious point, is Fred’s gently firm switch of the spotlight back on his resistant interlocutor, reframing the questions Lloyd is wrongly asking. Heller sprinkles the action with realist scenes of Lloyd’s current struggles with his absentee father (Chris Cooper), a feckless drunk trying ham-fistedly to make amends. But the film is also a fantasy, and in lesser hands than Heller’s, the visual devices that carry us through \u003cem>A Beautiful Day\u003c/em> — toy-filled miniature models of The Neighborhood and the cities both men travel through — might register as unbearably coy.\u003c/p>\n\u003cp>In fact the sets feel organic to Rogers’ central belief that in order to become fully functioning adults, everyone — especially the suffering children that he and Lloyd once were — should remember what it felt like to be a child. Lloyd, who has built an impregnable fort around his pain and rage toward his father, finds himself imaginatively folded into the puppet-littered sets Rogers has built for his younger audience. Some of this is played for laughs, others to warm the heart. But lest you think Heller gilds the lily, Junod’s article is there to verify some of the movie’s seemingly improbable moments, among them a scene in which Fred is serenaded with one of his own songs by passengers in his subway car. Even if you think Rogers’ psychological model is simplistic, you can’t help but climb aboard.\u003c/p>\n\u003cp>Operating with a shrewd mix of imitation and interpretation, Hanks deepens Fred Rogers from a man-child with a prankish sense of humor into a healer whose struggles with his own demons (as an overweight child he was bullied and called “Fat Freddie”) have led him to empathize with, as Lloyd puts it, “broken people like me.” Hanks’s sincere performance argues for a heartening lack of space between Rogers’ public and private personas, between himself and his puppets. He understood the darkness in children’s lives and gave them — and all the damaged Lloyds and Freds of this world — a way to grow into adults who understand that being good is endlessly renewable hard work. Welcome to a much-needed neighborhood.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the face of it, director Marielle Heller’s exhilaratingly impolite indie resume doesn’t make her an intuitive fit for a movie about the nicest man in the world — let alone a big studio picture starring nice Tom Hanks.\u003c/p>\n\u003cp>Heller’s 2015 feature debut, \u003cem>The Diary of a Teenage Girl\u003c/em>, was voiced by a sorry-not-sorry young woman who initiates an affair with her mother’s boyfriend. In her second, last year’s \u003cem>Can You Ever Forgive Me?\u003c/em>, Heller cast the beloved Melissa McCarthy as the robustly unlikable real-life literary forger Lee Israel. Next to Mister Rogers — in the eyes of many, a saint and a children’s hero — these two seem not to stack up.\u003c/p>\n\u003cp>Heller is not much into saints, but she delights in ill-fitting outliers. And Fred Rogers, in his slow and soft-voiced way, was a willing anachronism to the brash new late-sixties world that greeted the arrival on PBS of his earnestly old-fangled children’s television show, \u003cem>Mr. Rogers’ Neighborhood\u003c/em>. Rogers’ real-life buddy, journalist Tom Junod (Matthew Rhys plays Junod’s cinematic stand-in “Lloyd Vogel” in Heller’s film) lovingly described the kid-show-host as “a rather peculiar man.”\u003c/p>\n\u003cp> \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So he was, and how much more so he seems now, in today’s quarrelsome noise. Rogers was a Presbyterian minister and theologian whose on-set uniform was a comfy cardigan, tie, and sneakers. Turned off by the shrieking pie-in-the face cartoons that were standard children’s television fare, he slowed the pace way down, listened to children’s darkest fears and anxieties without wishing them away, and showed them how to manage those fears. The roots of his empathy in his own troubled childhood were beautifully told in Morgan Neville’s lovely 2018 documentary, \u003cem>Won’t You Be My Neighbor?\u003c/em>, which became the top-grossing biographical documentary ever.\u003c/p>\n\u003cp>\u003cem>A Beautiful Day\u003c/em> is not that story; it’s not really Fred’s story at all. The movie is a kind of procedural that shows how Rogers worked — persnickety and willfully distractible, he drove his adoring crew round the bend — on and off the set the set of his show, in this case to free an unhappy man of an enormous psychological burden he’d carried all his life. Inspired by Junod’s 1998 \u003cem>Esquire\u003c/em> cover, the film turns on the unexpected friendship that grew between the two men out of an assignment that the hard-hitting news reporter was forced into by his hard-nosed editor. (Were he alive today, I’m sure Fred would join me in saying: So nice to see you again, Christine Lahti!). Sensitively played by Rhys (\u003cem>The Americans\u003c/em>), Lloyd is a glum and grumpy fellow despite his glitzy job and new fatherhood with a supportive wife (Susan Kelechi Watson).\u003c/p>\n\u003cp>Within minutes of their first phone call, Rogers (Tom Hanks) senses that Lloyd is in unresolved emotional trouble. The movie’s running joke, and its tenderly serious point, is Fred’s gently firm switch of the spotlight back on his resistant interlocutor, reframing the questions Lloyd is wrongly asking. Heller sprinkles the action with realist scenes of Lloyd’s current struggles with his absentee father (Chris Cooper), a feckless drunk trying ham-fistedly to make amends. But the film is also a fantasy, and in lesser hands than Heller’s, the visual devices that carry us through \u003cem>A Beautiful Day\u003c/em> — toy-filled miniature models of The Neighborhood and the cities both men travel through — might register as unbearably coy.\u003c/p>\n\u003cp>In fact the sets feel organic to Rogers’ central belief that in order to become fully functioning adults, everyone — especially the suffering children that he and Lloyd once were — should remember what it felt like to be a child. Lloyd, who has built an impregnable fort around his pain and rage toward his father, finds himself imaginatively folded into the puppet-littered sets Rogers has built for his younger audience. Some of this is played for laughs, others to warm the heart. But lest you think Heller gilds the lily, Junod’s article is there to verify some of the movie’s seemingly improbable moments, among them a scene in which Fred is serenaded with one of his own songs by passengers in his subway car. Even if you think Rogers’ psychological model is simplistic, you can’t help but climb aboard.\u003c/p>\n\u003cp>Operating with a shrewd mix of imitation and interpretation, Hanks deepens Fred Rogers from a man-child with a prankish sense of humor into a healer whose struggles with his own demons (as an overweight child he was bullied and called “Fat Freddie”) have led him to empathize with, as Lloyd puts it, “broken people like me.” Hanks’s sincere performance argues for a heartening lack of space between Rogers’ public and private personas, between himself and his puppets. He understood the darkness in children’s lives and gave them — and all the damaged Lloyds and Freds of this world — a way to grow into adults who understand that being good is endlessly renewable hard work. Welcome to a much-needed neighborhood.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Ragged Wing Ensemble announced Tuesday that \u003ca href=\"http://www.theflightdeck.org/\">Flight Deck\u003c/a>, Oakland’s only shared black-box theater, will close early next year in a serious loss for the East Bay’s performing arts landscape. \u003c/span>\u003c/p>\n\u003cp>Anna Shneiderman, co-founder and executive director of \u003ca href=\"https://www.raggedwing.org/\">Ragged Wing Ensemble\u003c/a>, stood in the 99-seat theater at 1540 Broadway in downtown Oakland, a venue used for performance, rehearsal and administration by 70 artists and organizations annually, and described the building seven years ago. “The roof was caving in,” she said. “You could see through this floor to the dirt underneath.” [aside postID=arts_13861153,arts_13866354,arts_13850988]\u003c/p>\n\u003cp>Shneiderman, who’d run Ragged Wing as a nomadic theater troupe with artistic director Amy Sass since 2004, raised $300,000 to create a 4,000-square-foot performing-arts hub within the dilapidated warehouse, immediately attracting resident companies such as \u003ca href=\"http://www.lowerbottomplayaz.com/\">Lower Bottom Playaz\u003c/a>. “With no marketing, people were banging on the door,” she said. Flight Deck, which Ragged Wing operates, is now booked 50 weeks a year, and since 2014 has quintupled its budget to more than $500,000.\u003c/p>\n\u003cp>Yet Flight Deck’s critical role in the East Bay theater community belies Ragged Wing’s financial insecurity. Facilities costs are double the rental revenue, Shneiderman said, and ticket prices similarly lag behind production expenses. Ragged Wing raises the shortfall, but even with key institutional support, its several part-time employees remain underpaid and without benefits. With its five-year lease set to lapse, Shneiderman sees little more room to grow.\u003c/p>\n\u003cp>“The looming lease renewal prompted some soul-searching,” she said. “Is this sustainable?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Flight Deck will close following a “\u003ca href=\"http://www.theflightdeck.org/the-art-of-leaving.html\">ceremonial exit\u003c/a>” program March 29, 2020 entitled \u003cem>The Art of Leaving\u003c/em>. Ragged Wing, like Ayodele Nzinga’s troupe Lower Bottom Playaz, will resume a nomadic existence; an Oakland beacon and resource to dozens of artists will go dark. Shneiderman wants another entity to take over the lease, but Flight Deck as it’s known is done.\u003c/p>\n\u003cp>“Ragged Wing started Flight Deck because there was nowhere to stage a play in downtown Oakland,” she said. “Unless someone takes over our lease, it could be that way again.”\u003c/p>\n\u003cp>In either case, Shneiderman now believes the nonprofit arts system is broken beyond repair.\u003c/p>\n\u003cfigure id=\"attachment_13870008\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870008\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning-800x450.jpg\" alt=\"Ayodele Nzinga, seated, is an artist and activist who runs Flight Deck resident company Lower Bottom Playaz.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ayodele Nzinga, seated, is an artist and activist who runs Flight Deck resident company Lower Bottom Playaz. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nzinga founded Lower Bottom Playaz, an original Flight Deck resident, 20 years ago to produce original works and canonical black theater. It’s known for staging all of \u003cem>Century Cycle\u003c/em>, August Wilson’s epic exploration of the African-American experience, and in September premiered one-woman plays by Nzinga, Cat Brooks and Kharyshi Wiginton. Nzinga is also an activist who helps run a new \u003ca href=\"https://www.ccedoakland.org/\">anti-displacement fund\u003c/a>, and one day recently she sat in Flight Deck’s gallery distributing checks. “It feels fantastic,” she said, smiling to note the ironic timing and setting.\u003c/p>\n\u003cp>Theater in Oakland faces challenges besides the lack of venues. San Francisco companies tend to charge more at the door, and city government exponentially outspends Oakland in art grants; in Oakland’s most recent budget process, arts funding \u003ca href=\"https://www.kqed.org/arts/13861153/its-criminal-cultural-funding-cuts-frustrate-oakland-artists\">even dipped\u003c/a>. Berkeley has several venues with resident companies supported by a wealthier, better-established audience. “We’re courting a different demographic,” Nzinga said. “We have a pricing scale, and we pass a hat at the end of each show—the joke is you have to pay at the door and then pay to leave.”\u003c/p>\n\u003cp>Flight Deck’s monthly overhead, according to Shneiderman, is $20,000-$25,000. Rental rates, though subsidized by fundraising, make it difficult to fairly compensate performers while offering affordable tickets. TheatreFIRST, at Berkeley’s Live Oak Theater, this year replaced stipends with an hourly rate. Ragged Wing is instituting a similar policy in order to “prioritize people over space,” Shneiderman said. “Why commit all this money to rent and not pay our people right?”\u003c/p>\n\u003cp>For companies such as Ragged Wing and Lower Bottom Playaz, reducing overhead is necessary to offer a living wage. Gritty City Repertory Youth Theatre, a former resident company at Flight Deck, earlier this year moved its office and rehearsal space to the Flax Building, where Ubuntu Theater Project also operates. Nzinga similarly foresees a roving future—anchored in Oakland, performing in surrounding cities—for Lower Bottom Playaz.\u003c/p>\n\u003cp>“Maybe we need to be nimble enough again to perform in homeless shelters and halfway houses like when we started out, or outdoors in Frank Ogawa Plaza,” Nzinga said.\u003c/p>\n\u003cfigure id=\"attachment_13870009\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870009\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office-800x450.jpg\" alt=\"Props and posters rest in Flight Deck's office mezzanine.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Props and posters rest in Flight Deck’s office mezzanine. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Earlier this month Shneiderman spoke at a “social impact” business conference in Berkeley about “endemic problems in the nonprofit arts sector,” describing the struggles of Flight Deck and Ragged Wing as systemic problems of an industry beholden to philanthropic largesse.\u003c/p>\n\u003cp>Institutional funders want to support projects with marquee visibility instead of humdrum operating costs, and wages for staff suffer, she explained. Organizations compete against each other for grants, yielding programming tailored to the vision of a few private foundations. Nonprofits with too little or too much money alienate funders, discouraging growth. And few audience members realize this constant hustle effectively subsidizes the price of their tickets.\u003c/p>\n\u003cp>Part of the problem is the city’s cost-of-living outpacing public and private arts funding. Another is development: Cranes and new luxury housing in downtown Oakland make the neighborhood’s art spaces look like placeholders. Highbridge Capital Management, a hedge fund subsidiary of JPMorgan Chase, bought the Flight Deck building two years ago as part of a rush on commercial real-estate in the area. It’s the only single-story structure on the block.\u003c/p>\n\u003cfigure id=\"attachment_13870010\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870010\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck-800x533.jpg\" alt=\"Posters for past productions hang framed in the Flight Deck hallway.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Posters for past productions hang framed in the Flight Deck hallway. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But even an abundance of grants and a longer-term lease on friendly terms wouldn’t address the underlying issue, Shneiderman believes. Relying on wealthy individual donors bends programming to a narrow demographic. “It begs the question of who’s being served,” she said. The arts nonprofit system entrenches instead of disperses social and economic standing, and donors receive tax advantages and burnished names without “rebalancing wealth or power in any significant way,” Shneiderman said, calling the model a form of “extractive capitalism.”\u003c/p>\n\u003cp>For Shneiderman, this critique is the prelude to a pitch for what she’s calling the “Oakland Cultural Space Cooperative,” a network of extant spaces for rehearsal and performance with a centralized booking portal. She’s preparing to begin a year-long design process—supported by local and state philanthropies—in collaboration with several other organizations. “We want it to also have a pathway to ownership,” she added.\u003c/p>\n\u003cp>Before then, Ragged Wing Ensemble will present \u003cem>The Art of Leaving\u003c/em>, its final program at Flight Deck, on March 29, 2020. Shneiderman describes it as a “multi-layered, participatory project” to gather thoughts on leaving from attendees, celebrate resiliency and culminate with a raucous march along Broadway. Like Nzinga with Lower Bottom Playaz, Shneiderman anticipates Ragged Wing returning to presenting compact, tourable productions in nontraditional venues such as homes and outdoor spaces.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It’s sad,” she said. “But it’s precipitating something new.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Ragged Wing Ensemble announced Tuesday that \u003ca href=\"http://www.theflightdeck.org/\">Flight Deck\u003c/a>, Oakland’s only shared black-box theater, will close early next year in a serious loss for the East Bay’s performing arts landscape. \u003c/span>\u003c/p>\n\u003cp>Anna Shneiderman, co-founder and executive director of \u003ca href=\"https://www.raggedwing.org/\">Ragged Wing Ensemble\u003c/a>, stood in the 99-seat theater at 1540 Broadway in downtown Oakland, a venue used for performance, rehearsal and administration by 70 artists and organizations annually, and described the building seven years ago. “The roof was caving in,” she said. “You could see through this floor to the dirt underneath.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Shneiderman, who’d run Ragged Wing as a nomadic theater troupe with artistic director Amy Sass since 2004, raised $300,000 to create a 4,000-square-foot performing-arts hub within the dilapidated warehouse, immediately attracting resident companies such as \u003ca href=\"http://www.lowerbottomplayaz.com/\">Lower Bottom Playaz\u003c/a>. “With no marketing, people were banging on the door,” she said. Flight Deck, which Ragged Wing operates, is now booked 50 weeks a year, and since 2014 has quintupled its budget to more than $500,000.\u003c/p>\n\u003cp>Yet Flight Deck’s critical role in the East Bay theater community belies Ragged Wing’s financial insecurity. Facilities costs are double the rental revenue, Shneiderman said, and ticket prices similarly lag behind production expenses. Ragged Wing raises the shortfall, but even with key institutional support, its several part-time employees remain underpaid and without benefits. With its five-year lease set to lapse, Shneiderman sees little more room to grow.\u003c/p>\n\u003cp>“The looming lease renewal prompted some soul-searching,” she said. “Is this sustainable?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Flight Deck will close following a “\u003ca href=\"http://www.theflightdeck.org/the-art-of-leaving.html\">ceremonial exit\u003c/a>” program March 29, 2020 entitled \u003cem>The Art of Leaving\u003c/em>. Ragged Wing, like Ayodele Nzinga’s troupe Lower Bottom Playaz, will resume a nomadic existence; an Oakland beacon and resource to dozens of artists will go dark. Shneiderman wants another entity to take over the lease, but Flight Deck as it’s known is done.\u003c/p>\n\u003cp>“Ragged Wing started Flight Deck because there was nowhere to stage a play in downtown Oakland,” she said. “Unless someone takes over our lease, it could be that way again.”\u003c/p>\n\u003cp>In either case, Shneiderman now believes the nonprofit arts system is broken beyond repair.\u003c/p>\n\u003cfigure id=\"attachment_13870008\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870008\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning-800x450.jpg\" alt=\"Ayodele Nzinga, seated, is an artist and activist who runs Flight Deck resident company Lower Bottom Playaz.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ayodele Nzinga, seated, is an artist and activist who runs Flight Deck resident company Lower Bottom Playaz. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nzinga founded Lower Bottom Playaz, an original Flight Deck resident, 20 years ago to produce original works and canonical black theater. It’s known for staging all of \u003cem>Century Cycle\u003c/em>, August Wilson’s epic exploration of the African-American experience, and in September premiered one-woman plays by Nzinga, Cat Brooks and Kharyshi Wiginton. Nzinga is also an activist who helps run a new \u003ca href=\"https://www.ccedoakland.org/\">anti-displacement fund\u003c/a>, and one day recently she sat in Flight Deck’s gallery distributing checks. “It feels fantastic,” she said, smiling to note the ironic timing and setting.\u003c/p>\n\u003cp>Theater in Oakland faces challenges besides the lack of venues. San Francisco companies tend to charge more at the door, and city government exponentially outspends Oakland in art grants; in Oakland’s most recent budget process, arts funding \u003ca href=\"https://www.kqed.org/arts/13861153/its-criminal-cultural-funding-cuts-frustrate-oakland-artists\">even dipped\u003c/a>. Berkeley has several venues with resident companies supported by a wealthier, better-established audience. “We’re courting a different demographic,” Nzinga said. “We have a pricing scale, and we pass a hat at the end of each show—the joke is you have to pay at the door and then pay to leave.”\u003c/p>\n\u003cp>Flight Deck’s monthly overhead, according to Shneiderman, is $20,000-$25,000. Rental rates, though subsidized by fundraising, make it difficult to fairly compensate performers while offering affordable tickets. TheatreFIRST, at Berkeley’s Live Oak Theater, this year replaced stipends with an hourly rate. Ragged Wing is instituting a similar policy in order to “prioritize people over space,” Shneiderman said. “Why commit all this money to rent and not pay our people right?”\u003c/p>\n\u003cp>For companies such as Ragged Wing and Lower Bottom Playaz, reducing overhead is necessary to offer a living wage. Gritty City Repertory Youth Theatre, a former resident company at Flight Deck, earlier this year moved its office and rehearsal space to the Flax Building, where Ubuntu Theater Project also operates. Nzinga similarly foresees a roving future—anchored in Oakland, performing in surrounding cities—for Lower Bottom Playaz.\u003c/p>\n\u003cp>“Maybe we need to be nimble enough again to perform in homeless shelters and halfway houses like when we started out, or outdoors in Frank Ogawa Plaza,” Nzinga said.\u003c/p>\n\u003cfigure id=\"attachment_13870009\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870009\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office-800x450.jpg\" alt=\"Props and posters rest in Flight Deck's office mezzanine.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Props and posters rest in Flight Deck’s office mezzanine. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Earlier this month Shneiderman spoke at a “social impact” business conference in Berkeley about “endemic problems in the nonprofit arts sector,” describing the struggles of Flight Deck and Ragged Wing as systemic problems of an industry beholden to philanthropic largesse.\u003c/p>\n\u003cp>Institutional funders want to support projects with marquee visibility instead of humdrum operating costs, and wages for staff suffer, she explained. Organizations compete against each other for grants, yielding programming tailored to the vision of a few private foundations. Nonprofits with too little or too much money alienate funders, discouraging growth. And few audience members realize this constant hustle effectively subsidizes the price of their tickets.\u003c/p>\n\u003cp>Part of the problem is the city’s cost-of-living outpacing public and private arts funding. Another is development: Cranes and new luxury housing in downtown Oakland make the neighborhood’s art spaces look like placeholders. Highbridge Capital Management, a hedge fund subsidiary of JPMorgan Chase, bought the Flight Deck building two years ago as part of a rush on commercial real-estate in the area. It’s the only single-story structure on the block.\u003c/p>\n\u003cfigure id=\"attachment_13870010\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870010\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck-800x533.jpg\" alt=\"Posters for past productions hang framed in the Flight Deck hallway.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Posters for past productions hang framed in the Flight Deck hallway. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But even an abundance of grants and a longer-term lease on friendly terms wouldn’t address the underlying issue, Shneiderman believes. Relying on wealthy individual donors bends programming to a narrow demographic. “It begs the question of who’s being served,” she said. The arts nonprofit system entrenches instead of disperses social and economic standing, and donors receive tax advantages and burnished names without “rebalancing wealth or power in any significant way,” Shneiderman said, calling the model a form of “extractive capitalism.”\u003c/p>\n\u003cp>For Shneiderman, this critique is the prelude to a pitch for what she’s calling the “Oakland Cultural Space Cooperative,” a network of extant spaces for rehearsal and performance with a centralized booking portal. She’s preparing to begin a year-long design process—supported by local and state philanthropies—in collaboration with several other organizations. “We want it to also have a pathway to ownership,” she added.\u003c/p>\n\u003cp>Before then, Ragged Wing Ensemble will present \u003cem>The Art of Leaving\u003c/em>, its final program at Flight Deck, on March 29, 2020. Shneiderman describes it as a “multi-layered, participatory project” to gather thoughts on leaving from attendees, celebrate resiliency and culminate with a raucous march along Broadway. Like Nzinga with Lower Bottom Playaz, Shneiderman anticipates Ragged Wing returning to presenting compact, tourable productions in nontraditional venues such as homes and outdoor spaces.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ci data-stringify-type=\"italic\">This story first appeared in 2019 to mark the 50th anniversary of the occupation of Alcatraz.\u003cbr>\n\u003c/i>\u003cbr>\nAlcatraz is far more than a 22-acre island in San Francisco Bay, far more than the location of a former federal prison, and far more than a cursory tourist destination. Fifty years ago, it became a site of Native American activism that forever changed government policy and asserted the organizing power of a united Indigenous people.\u003c/p>\n\u003cp>[aside postID='arts_13869074' 'hero=https://ww2.kqed.org/app/uploads/sites/2/2019/11/GettyImages-515575596-1020x683_Resized-1020x644.jpg' label='More on Alcatraz']\u003c/p>\n\u003cp>On November 20, 1969, a group of Native American students landed on Alcatraz Island, launching a 19-month occupation based on an established legal principle of reclaiming abandoned federal lands for Native use. Their claim came after years of watching the U.S. government terminate the status of over 100 tribes and remove approximately \u003ca href=\"http://www.nativepartnership.org/site/PageServer?pagename=PWNA_Native_History_terminationpolicySW\" target=\"_blank\" rel=\"noopener noreferrer\">2,500,000 acres of trust land from protected status\u003c/a>.\u003c/p>\n\u003cp>The young leaders of the occupation, including LaNada Means and Richard Oakes, cannily turned the paternalistic language of the American government into pointed media moments. The activists proclaimed the cold and windy island “more than suitable as an Indian Reservation, as determined by the White Man’s own standards.”\u003c/p>\n\u003cp>[aside postID='news_11780279' 'hero=https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/10/IMG_2671-1-1020x765.jpg' label='Reflections on Alcatraz']\u003c/p>\n\u003cp>“It would be fitting and symbolic that ships from all over the world, entering the Golden Gate, would first see Indian land, and thus be reminded of the true history of this nation,” Oakes read for news cameras. “This tiny island would be a symbol of the great lands once ruled by free and noble Indians.”\u003c/p>\n\u003cp>Their goals were not just symbolic, but practical. The San Francisco Indian Center burned to the ground just a month prior to the occupation; the organizers proposed Alcatraz as a site for a new cultural center, a place to educate, preserve and reestablish Native American ways.\u003c/p>\n\u003cp>KQED’s archival footage, along with shots taken by Doris Purdy (then an employee of the Bureau of Indian Affairs), and a few clips from Sacramento’s KCRA News, tell a story of an idealistic group of young people, members of tribes spread across the continent, who gathered on Alcatraz to challenge not just the conditions of 1969, but centuries of cultural erasure. —\u003cem>Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cp>It was a moment that would become seared into American cultural history. Sacheen Littlefeather, an Apache and the President of the National Native American Affirmative Image Committee, stepped onto the 1973 Academy Awards stage, and very politely refused to take Marlon Brando’s Best Actor Oscar for \u003cem>The Godfather\u003c/em>, from a bemused-looking Roger Moore.\u003c/p>\n\u003cp>When Littlefeather calmly explained that Brando was unable to “accept this very generous award” because of “the treatment of American Indians today by the film industry and on television in movie re-runs,” boos immediately erupted in some corners of the room. Littlefeather stayed calm, offering a simple “Excuse me,” before audience cheers drowned out the objections.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2QUacU0I4yU\u003c/p>\n\u003cp>It had been two years since the “\u003ca href=\"https://www.history.com/news/native-american-activists-occupy-alcatraz-island-45-years-ago\" target=\"_blank\" rel=\"noopener noreferrer\">Indians of All Tribes\u003c/a>” had ceased their 19-month occupation of Alcatraz, but Brando had visited the island during that period and become so deeply concerned about the Native American cause, he remained outspoken on their behalf for the rest of his life.\u003c/p>\n\u003cp>[aside postid='arts_13889944']“I don’t think that people generally realize what the motion picture industry has done to the American Indian,” \u003ca href=\"https://www.youtube.com/watch?v=LAPDQ5MlLxE\" target=\"_blank\" rel=\"noopener noreferrer\">Brando told Dick Cavett\u003c/a> in 1973. “How deeply these people are injured… Children… seeing Indians represented as savage, vicious, ugly, nasty, treacherous, drunken. They grow up with only a negative image of themselves and it lasts a lifetime.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Brando’s engagement was a perfect example of how support for Indigenous rights underwent a momentous and visible shift during one of the most socially turbulent times in recent American history. “For centuries, most Americans and their government believed Indians were an obstacle to national progress or, by the mid-twentieth century, anachronisms which had no place in the modern world,” writes Sherry L. Smith in \u003ca href=\"https://www.amazon.com/Hippies-Indians-Fight-Red-Power/dp/0199855595\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hippies, Indians and the Fight For Red Power\u003c/em>\u003c/a>. “Extinguishing all remnants of native life characterized federal policy by the 1950s. By the 1960s, they found support outside their communities.”\u003c/p>\n\u003cp>A major factor in garnering that support was the Alcatraz occupation and the celebrities who went out of their way to draw attention to it and offer financial support. Creedence Clearwater Revival, for example, donated $10,000 that, among other things, enabled activists to buy a boat (reportedly dubbed “\u003ca href=\"https://www.history.com/news/native-american-activists-occupy-alcatraz-island-45-years-ago\" target=\"_blank\" rel=\"noopener noreferrer\">The Clearwater\u003c/a>“) to get supplies to and from the island.\u003c/p>\n\u003cp>Jane Fonda also \u003ca href=\"https://books.google.com/books?id=vHHbsjThmKAC&pg=PA258&lpg=PA258&dq=jane+fonda+donated+generators+to+alcatraz&source=bl&ots=_LWUGlGHM8&sig=ACfU3U1cVED2zNFNKWvXfFauMLAX_i_kcA&hl=en&sa=X&ved=2ahUKEwjzwfrkpdnlAhXJGDQIHbuuBA8Q6AEwDnoECAoQAQ#v=onepage&q=jane%20fonda%20donated%20generators%20to%20alcatraz&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">spent a night on Alcatraz\u003c/a>, reportedly bringing her own sleeping bag, smoking weed with the occupiers, and donating a rototiller for gardening, as well as six generators—much needed at the time, after Alcatraz’s power was cut by the \u003ca href=\"https://www.gsa.gov/blog/2016/06/17/Celebrating-67-Years-of-American-Service\" target=\"_blank\" rel=\"noopener noreferrer\">General Services Administration\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13882943']“She got on the Indian bandwagon, but did not come to Alcatraz empty-handed like a lot of big shots,” a Blackfoot activist named \u003ca href=\"https://books.google.com/books?id=vHHbsjThmKAC&pg=PA258&lpg=PA258&dq=jane+fonda+donated+generators+to+alcatraz&source=bl&ots=_LWUGlGHM8&sig=ACfU3U1cVED2zNFNKWvXfFauMLAX_i_kcA&hl=en&sa=X&ved=2ahUKEwjzwfrkpdnlAhXJGDQIHbuuBA8Q6AEwDnoECAoQAQ#v=onepage&q=jane%20fonda%20donated%20generators%20to%20alcatraz&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">Morris later noted\u003c/a> of Fonda. “She was an answer to the Alcatraz Indian prayers, giving us some light and refrigeration.”\u003c/p>\n\u003cp>Fonda subsequently visited Sacramento’s State Assembly to support a resolution to turn Alcatraz into a Native American cultural center. The measure passed but was later defeated in the Senate.\u003c/p>\n\u003cp>Because of this kind of celebrity involvement, prominent talk shows got on board too. Dick Cavett talked about the occupation, and Grace Thorpe, the negotiator and PR person for the Alcatraz protesters was a guest on the \u003cem>Merv Griffin Show\u003c/em>. Griffin also filmed a short segment on the island.\u003c/p>\n\u003cp>While most of the occupation’s famous supporters made perfect sense—a visit from comedian and civil rights activist Dick Gregory shocked no-one, Gregory having previously gone to jail for supporting \u003ca href=\"https://newsmaven.io/indiancountrytoday/archive/dick-gregory-friend-of-indian-country-walks-on-cBcL_NPYfkWwoLtcs7wMOg/\" target=\"_blank\" rel=\"noopener noreferrer\">“fish-in” protests\u003c/a> by Pacific-Northwest tribes—others were more surprising.\u003c/p>\n\u003cfigure id=\"attachment_13869598\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13869598\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/MPW-92135.jpg\" alt=\"'Flap' starred Anthony Quinn and referenced the Alcatraz occupation in its promotional materials.\" width=\"300\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/MPW-92135.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/MPW-92135-160x314.jpg 160w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">‘Flap’ starred Anthony Quinn and referenced the Alcatraz occupation in its promotional materials.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.imdb.com/name/nm0000063/?ref_=nv_sr_1?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener noreferrer\">Anthony Quinn \u003c/a>took a break from filming \u003cem>Flap \u003c/em>near Stockton, to make a high profile visit to the island. As an actor of Mexican-Irish descent who played Indigenous people throughout his movie career, Quinn’s position was, by 2019 standards, a problematic one. \u003cem>Flap\u003c/em> itself was based on a book titled \u003cem>Nobody Loves a Drunken Indian, \u003c/em>written by \u003ca href=\"https://www.fantasticfiction.com/h/clair-huffaker/\" target=\"_blank\" rel=\"noopener noreferrer\">Clair Huffaker\u003c/a>, a white man who traditionally wrote about the Old West.\u003c/p>\n\u003cp>But the movie took major steps to sympathize with the plight of marginalized Native people and set Quinn’s Flapping Eagle character up as a hero facing impossible odds. Promotion for the movie capitalized on the Alcatraz occupation, with posters that read: “A warning to the Mayor: \u003cem>Flap\u003c/em> is here! The Indians have already claimed Alcatraz. City Hall may be next. You have been warned.”\u003c/p>\n\u003cp>After his Alcatraz visit, Quinn, who financially contributed to Native American causes, \u003ca href=\"https://books.google.com/books?id=ovASzp51gmcC&pg=PA96&lpg=PA96&dq=Hippies,+Indians+and+the+Fight+For+Red+Power+anthony+quinn&source=bl&ots=3p9I_pi8uS&sig=ACfU3U065XJCFs0ntmTWH5gjCqcyHkN8tA&hl=en&sa=X&ved=2ahUKEwiDx8GhyOXlAhWVvJ4KHYuyD8gQ6AEwCXoECAkQAQ#v=onepage&q=Hippies%2C%20Indians%20and%20the%20Fight%20For%20Red%20Power%20anthony%20quinn&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">told a press conference\u003c/a> he was \u003ca href=\"https://cdnc.ucr.edu/?a=d&d=DS19691215.2.39&e=-------en--20--1--txt-txIN--------1\" target=\"_blank\" rel=\"noopener noreferrer\">impressed\u003c/a> by the occupiers’ aims. “Alcatraz is a small price,” he said, “for all the sins we committed and indignities we forced on the Indians.”\u003c/p>\n\u003cp>Back on the mainland, the counterculture was rallying too. On December 12, 1969, a benefit for the occupiers took place at Stanford’s Memorial Chapel, headlined by \u003ca href=\"https://en.wikipedia.org/wiki/Buffy_Sainte-Marie\" target=\"_blank\" rel=\"noopener noreferrer\">Buffy Sainte-Marie\u003c/a>. (The singer went on to be the first Indigenous person to win an Academy Award, for writing 1982’s “\u003ca href=\"https://www.youtube.com/watch?v=rLCk066o9sU\" target=\"_blank\" rel=\"noopener noreferrer\">Up Where We Belong\u003c/a>.”)\u003c/p>\n\u003cp>In addition, Berkeley’s Malvina Reynolds (most famous for writing the hit “\u003ca href=\"https://www.youtube.com/watch?v=XUwUp-D_VV0\" target=\"_blank\" rel=\"noopener noreferrer\">Little Boxes\u003c/a>“) donated $1,000 in royalties from her song “Alcatraz (Pelican Island)” towards the San Francisco American Indian Center, which had \u003ca href=\"https://news.sfsu.edu/news-story/professor-lead-re-establishment-american-indian-cultural-center\" target=\"_blank\" rel=\"noopener noreferrer\">burned down\u003c/a> shortly before the occupation began. “Alcatraz isn’t good enough for them,” Reynolds noted at the time, “but it certainly is a first step.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1FPjQbXvazY\u003c/p>\n\u003cp>As noted in \u003cem>Hippies, Indians and the Fight For Red Power, \u003c/em>much of the progress made for Native visibility in the ’70s may not have occurred without the protesters’ time on the island, and the high profile support it prompted. “In terms of capturing national and even international attention,” the book states. “Alcatraz stands out as a critical turning point for Indian reform. It provided the opportunity and the focus for non-Indian supporters to find a place and a purpose to which they could contribute.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For both activists and progressively-minded celebrities, it stands as a rousing and inspiring example to this day.\u003c/p>\n\n",
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"excerpt": "The Alcatraz occupation marked a major turning point in the public perception of Native American activism—and support from actors like Marlon Brando, Jane Fonda and Anthony Quinn was a factor in that.",
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"description": "The Alcatraz occupation marked a major turning point in the public perception of Native American activism—and support from actors like Marlon Brando, Jane Fonda and Anthony Quinn was a factor in that.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was a moment that would become seared into American cultural history. Sacheen Littlefeather, an Apache and the President of the National Native American Affirmative Image Committee, stepped onto the 1973 Academy Awards stage, and very politely refused to take Marlon Brando’s Best Actor Oscar for \u003cem>The Godfather\u003c/em>, from a bemused-looking Roger Moore.\u003c/p>\n\u003cp>When Littlefeather calmly explained that Brando was unable to “accept this very generous award” because of “the treatment of American Indians today by the film industry and on television in movie re-runs,” boos immediately erupted in some corners of the room. Littlefeather stayed calm, offering a simple “Excuse me,” before audience cheers drowned out the objections.\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/2QUacU0I4yU'\n title='//www.youtube.com/embed/2QUacU0I4yU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It had been two years since the “\u003ca href=\"https://www.history.com/news/native-american-activists-occupy-alcatraz-island-45-years-ago\" target=\"_blank\" rel=\"noopener noreferrer\">Indians of All Tribes\u003c/a>” had ceased their 19-month occupation of Alcatraz, but Brando had visited the island during that period and become so deeply concerned about the Native American cause, he remained outspoken on their behalf for the rest of his life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I don’t think that people generally realize what the motion picture industry has done to the American Indian,” \u003ca href=\"https://www.youtube.com/watch?v=LAPDQ5MlLxE\" target=\"_blank\" rel=\"noopener noreferrer\">Brando told Dick Cavett\u003c/a> in 1973. “How deeply these people are injured… Children… seeing Indians represented as savage, vicious, ugly, nasty, treacherous, drunken. They grow up with only a negative image of themselves and it lasts a lifetime.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Brando’s engagement was a perfect example of how support for Indigenous rights underwent a momentous and visible shift during one of the most socially turbulent times in recent American history. “For centuries, most Americans and their government believed Indians were an obstacle to national progress or, by the mid-twentieth century, anachronisms which had no place in the modern world,” writes Sherry L. Smith in \u003ca href=\"https://www.amazon.com/Hippies-Indians-Fight-Red-Power/dp/0199855595\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hippies, Indians and the Fight For Red Power\u003c/em>\u003c/a>. “Extinguishing all remnants of native life characterized federal policy by the 1950s. By the 1960s, they found support outside their communities.”\u003c/p>\n\u003cp>A major factor in garnering that support was the Alcatraz occupation and the celebrities who went out of their way to draw attention to it and offer financial support. Creedence Clearwater Revival, for example, donated $10,000 that, among other things, enabled activists to buy a boat (reportedly dubbed “\u003ca href=\"https://www.history.com/news/native-american-activists-occupy-alcatraz-island-45-years-ago\" target=\"_blank\" rel=\"noopener noreferrer\">The Clearwater\u003c/a>“) to get supplies to and from the island.\u003c/p>\n\u003cp>Jane Fonda also \u003ca href=\"https://books.google.com/books?id=vHHbsjThmKAC&pg=PA258&lpg=PA258&dq=jane+fonda+donated+generators+to+alcatraz&source=bl&ots=_LWUGlGHM8&sig=ACfU3U1cVED2zNFNKWvXfFauMLAX_i_kcA&hl=en&sa=X&ved=2ahUKEwjzwfrkpdnlAhXJGDQIHbuuBA8Q6AEwDnoECAoQAQ#v=onepage&q=jane%20fonda%20donated%20generators%20to%20alcatraz&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">spent a night on Alcatraz\u003c/a>, reportedly bringing her own sleeping bag, smoking weed with the occupiers, and donating a rototiller for gardening, as well as six generators—much needed at the time, after Alcatraz’s power was cut by the \u003ca href=\"https://www.gsa.gov/blog/2016/06/17/Celebrating-67-Years-of-American-Service\" target=\"_blank\" rel=\"noopener noreferrer\">General Services Administration\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“She got on the Indian bandwagon, but did not come to Alcatraz empty-handed like a lot of big shots,” a Blackfoot activist named \u003ca href=\"https://books.google.com/books?id=vHHbsjThmKAC&pg=PA258&lpg=PA258&dq=jane+fonda+donated+generators+to+alcatraz&source=bl&ots=_LWUGlGHM8&sig=ACfU3U1cVED2zNFNKWvXfFauMLAX_i_kcA&hl=en&sa=X&ved=2ahUKEwjzwfrkpdnlAhXJGDQIHbuuBA8Q6AEwDnoECAoQAQ#v=onepage&q=jane%20fonda%20donated%20generators%20to%20alcatraz&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">Morris later noted\u003c/a> of Fonda. “She was an answer to the Alcatraz Indian prayers, giving us some light and refrigeration.”\u003c/p>\n\u003cp>Fonda subsequently visited Sacramento’s State Assembly to support a resolution to turn Alcatraz into a Native American cultural center. The measure passed but was later defeated in the Senate.\u003c/p>\n\u003cp>Because of this kind of celebrity involvement, prominent talk shows got on board too. Dick Cavett talked about the occupation, and Grace Thorpe, the negotiator and PR person for the Alcatraz protesters was a guest on the \u003cem>Merv Griffin Show\u003c/em>. Griffin also filmed a short segment on the island.\u003c/p>\n\u003cp>While most of the occupation’s famous supporters made perfect sense—a visit from comedian and civil rights activist Dick Gregory shocked no-one, Gregory having previously gone to jail for supporting \u003ca href=\"https://newsmaven.io/indiancountrytoday/archive/dick-gregory-friend-of-indian-country-walks-on-cBcL_NPYfkWwoLtcs7wMOg/\" target=\"_blank\" rel=\"noopener noreferrer\">“fish-in” protests\u003c/a> by Pacific-Northwest tribes—others were more surprising.\u003c/p>\n\u003cfigure id=\"attachment_13869598\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13869598\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/MPW-92135.jpg\" alt=\"'Flap' starred Anthony Quinn and referenced the Alcatraz occupation in its promotional materials.\" width=\"300\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/MPW-92135.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/MPW-92135-160x314.jpg 160w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">‘Flap’ starred Anthony Quinn and referenced the Alcatraz occupation in its promotional materials.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.imdb.com/name/nm0000063/?ref_=nv_sr_1?ref_=nv_sr_1\" target=\"_blank\" rel=\"noopener noreferrer\">Anthony Quinn \u003c/a>took a break from filming \u003cem>Flap \u003c/em>near Stockton, to make a high profile visit to the island. As an actor of Mexican-Irish descent who played Indigenous people throughout his movie career, Quinn’s position was, by 2019 standards, a problematic one. \u003cem>Flap\u003c/em> itself was based on a book titled \u003cem>Nobody Loves a Drunken Indian, \u003c/em>written by \u003ca href=\"https://www.fantasticfiction.com/h/clair-huffaker/\" target=\"_blank\" rel=\"noopener noreferrer\">Clair Huffaker\u003c/a>, a white man who traditionally wrote about the Old West.\u003c/p>\n\u003cp>But the movie took major steps to sympathize with the plight of marginalized Native people and set Quinn’s Flapping Eagle character up as a hero facing impossible odds. Promotion for the movie capitalized on the Alcatraz occupation, with posters that read: “A warning to the Mayor: \u003cem>Flap\u003c/em> is here! The Indians have already claimed Alcatraz. City Hall may be next. You have been warned.”\u003c/p>\n\u003cp>After his Alcatraz visit, Quinn, who financially contributed to Native American causes, \u003ca href=\"https://books.google.com/books?id=ovASzp51gmcC&pg=PA96&lpg=PA96&dq=Hippies,+Indians+and+the+Fight+For+Red+Power+anthony+quinn&source=bl&ots=3p9I_pi8uS&sig=ACfU3U065XJCFs0ntmTWH5gjCqcyHkN8tA&hl=en&sa=X&ved=2ahUKEwiDx8GhyOXlAhWVvJ4KHYuyD8gQ6AEwCXoECAkQAQ#v=onepage&q=Hippies%2C%20Indians%20and%20the%20Fight%20For%20Red%20Power%20anthony%20quinn&f=false\" target=\"_blank\" rel=\"noopener noreferrer\">told a press conference\u003c/a> he was \u003ca href=\"https://cdnc.ucr.edu/?a=d&d=DS19691215.2.39&e=-------en--20--1--txt-txIN--------1\" target=\"_blank\" rel=\"noopener noreferrer\">impressed\u003c/a> by the occupiers’ aims. “Alcatraz is a small price,” he said, “for all the sins we committed and indignities we forced on the Indians.”\u003c/p>\n\u003cp>Back on the mainland, the counterculture was rallying too. On December 12, 1969, a benefit for the occupiers took place at Stanford’s Memorial Chapel, headlined by \u003ca href=\"https://en.wikipedia.org/wiki/Buffy_Sainte-Marie\" target=\"_blank\" rel=\"noopener noreferrer\">Buffy Sainte-Marie\u003c/a>. (The singer went on to be the first Indigenous person to win an Academy Award, for writing 1982’s “\u003ca href=\"https://www.youtube.com/watch?v=rLCk066o9sU\" target=\"_blank\" rel=\"noopener noreferrer\">Up Where We Belong\u003c/a>.”)\u003c/p>\n\u003cp>In addition, Berkeley’s Malvina Reynolds (most famous for writing the hit “\u003ca href=\"https://www.youtube.com/watch?v=XUwUp-D_VV0\" target=\"_blank\" rel=\"noopener noreferrer\">Little Boxes\u003c/a>“) donated $1,000 in royalties from her song “Alcatraz (Pelican Island)” towards the San Francisco American Indian Center, which had \u003ca href=\"https://news.sfsu.edu/news-story/professor-lead-re-establishment-american-indian-cultural-center\" target=\"_blank\" rel=\"noopener noreferrer\">burned down\u003c/a> shortly before the occupation began. “Alcatraz isn’t good enough for them,” Reynolds noted at the time, “but it certainly is a first step.”\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/1FPjQbXvazY'\n title='//www.youtube.com/embed/1FPjQbXvazY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As noted in \u003cem>Hippies, Indians and the Fight For Red Power, \u003c/em>much of the progress made for Native visibility in the ’70s may not have occurred without the protesters’ time on the island, and the high profile support it prompted. “In terms of capturing national and even international attention,” the book states. “Alcatraz stands out as a critical turning point for Indian reform. It provided the opportunity and the focus for non-Indian supporters to find a place and a purpose to which they could contribute.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For both activists and progressively-minded celebrities, it stands as a rousing and inspiring example to this day.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Wondering about the best podcasts for trips, long drives or (let’s face it) airport delays?\u003c/p>\n\u003cp>With the holidays fast approaching, chances are you’ll find yourself hitting the road or sky, and in need of binge-worthy audio to entertain you. Never fear: below, we’ve collected seven of the most immersive, compelling and (sorry) \u003cem>transporting\u003c/em> podcast episodes to recently come out of KQED.\u003c/p>\n\u003cp>Cue up these picks on your podcast platform of choice—or scroll to the end to download the Spotify playlist—and you’ll never be bored while stuck in traffic or delayed at the airport.\u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/news/11782405/tunnels-under-san-francisco-inside-the-dark-dangerous-world-of-the-sewers\">Secret Tunnels Under San Francisco? \u003c/a>\u003cbr>\nFrom \u003cem>Bay Curious\u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13869970\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>Every episode of \u003cem>Bay Curious\u003c/em> is sparked by audience curiosity about local conundrums–and they’ve received a \u003cem>lot\u003c/em> of questions about whether there’s a network of mystery tunnels under San Francisco. This dark-and-dirty episode takes listeners to a place it’s likely they will never actually visit; a very real labyrinth that sprawls deep underground—AKA the city’s vast sewer system.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Listen to the episode to explore this underworld with the \u003cem>Bay Curious\u003c/em> team. Between lethal gases, fast-flowing rivers of sewage and the risk of getting lost in the darkness, you’ll probably be glad to take this tour \u003cem>virtually\u003c/em> via your headphones, rather than IRL.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/news/11782405/tunnels-under-san-francisco-inside-the-dark-dangerous-world-of-the-sewers\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/secret-tunnels-under-san-francisco/id1172473406?i=1000455577910\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/news/11777723/blind-beekeeper-relies-on-the-sound-of-the-swarm-to-keep-her-hives-happy\">Blind Beekeeper Relies on Sound to Keep Her Hives Happy\u003c/a>\u003cbr>\nFrom \u003cem>The California Report Magazine\u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-13869926 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/RS39379_beekeeper2-qut-1020x679.jpg\" alt=\"\" width=\"1020\" height=\"679\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39379_beekeeper2-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39379_beekeeper2-qut-1020x679-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39379_beekeeper2-qut-1020x679-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39379_beekeeper2-qut-1020x679-768x511.jpg 768w\" sizes=\"(max-width: 1020px) 100vw, 1020px\">\u003c/p>\n\u003cp>“I didn’t think I could be a good beekeeper without being able to see.” This special episode from \u003cem>The California Report Magazine\u003c/em>’s weekly podcast immerses the listener in the world of Aerial: a Bay area nurse who lost her sight after using tampered eyedrops. Navigating her new reality, she found purpose and meaning in the hobby she’d enjoyed since she was a teen: beekeeping.\u003c/p>\n\u003cp>Listen as Aerial explains how she knows whether her swarm—she calls them “her girls”—are happy, and how to hear their “waggle dance” (the movement bees make to tell others where to find pollen). After experiencing this episode, you’ll never hear bees again the same way.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/news/11777723/blind-beekeeper-relies-on-the-sound-of-the-swarm-to-keep-her-hives-happy\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/blind-beekeeper-relies-on-sound-to-keep-her-hives-happy/id1314750545?i=1000452376183\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/pop/102783/queer-eyes-jonathan-van-ness-on-turning-red-states-pink-one-makeover-at-a-time\">\u003cem>Queer Eye\u003c/em>‘s Jonathan Van Ness on Turning Red States Pink\u003c/a>\u003cbr>\nFrom \u003cem>The Cooler\u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13869925\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/Jonathan-Van-Ness.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Jonathan-Van-Ness.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Jonathan-Van-Ness-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Jonathan-Van-Ness-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The most engrossing podcast interviews are the ones where you feel you’ve been teleported into the room with the people in question—and this 2018 interview with the infamously personable \u003cem>Queer Eye\u003c/em> star Jonathan Van Ness on KQED’s pop culture podcast \u003cem>The Cooler\u003c/em> is no exception.\u003c/p>\n\u003cp>In a conversation that ranges from raucous to heartfelt and intimate, Van Ness talks to hosts Emmanuel Hapsis, Jamedra Brown-Fleischman and Carly Severn about growing up gay in a small town, dealing with online trolls, the healing power of figure skating and a particularly controversial moment from \u003cem>Queer Eye\u003c/em>’s second season.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/pop/102783/queer-eyes-jonathan-van-ness-on-turning-red-states-pink-one-makeover-at-a-time\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/queer-eyes-jonathan-van-ness-on-turning-red-states-pink/id1041117499?i=1000407027183\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/podcasts/42/joy-may-16th\">Joy\u003c/a>\u003cbr>\nfrom \u003cem>Truth Be Told \u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13869927\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960.jpg\" alt=\"\" width=\"1920\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960-1200x600.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>Is it OK to feel joy when it feels like the world is burning? In the first episode of KQED’s advice show made by people of color for people of color, host Tonya Mosley brings us to her hometown of Detroit, Michigan—the “epicenter of pleasure in the midst of turmoil,” as she calls it. Mosley sits down with her grandmother Ernestine Mosley and \u003cem>New York Times\u003c/em> bestselling author Adrienne Maree Brown for some hard questions, deep laughs, and much-needed affirmations about why it’s not only OK to feel joy, but it’s absolutely necessary.\u003c/p>\n\u003cp>And stay tuned: \u003cem>Truth Be Told\u003c/em> returns for a second season in early 2020!\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/podcasts/42/joy-may-16th\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/joy-episode-1/id1462216572?i=1000438248776\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/news/11780279/native-american-occupation-at-alcatraz-50-years\">‘We’re Still Here’\u003c/a>\u003cbr>\nFrom\u003cem> The Bay\u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13869928\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/IMG_2671-1-1020x765.jpg\" alt=\"\" width=\"1020\" height=\"765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_2671-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_2671-1-1020x765-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_2671-1-1020x765-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_2671-1-1020x765-768x576.jpg 768w\" sizes=\"(max-width: 1020px) 100vw, 1020px\">\u003c/p>\n\u003cp>In this episode of\u003cem> The Bay\u003c/em>, KQED reporter Alice Woelfle follows along with Native people from across the West Coast in a ceremonial canoe journey around Alcatraz Island. First, we hear the building of a tule boat, then the sound of paddle hitting the water as members of different tribes, territories, communities and families embark on their paddle around the island before returning to shore to be greeted by Ohlone elders.\u003c/p>\n\u003cp>The paddle commemorated the 50-year anniversary of the occupation of Alcatraz, a movement which lasted 19 months and brought widespread visibility for American Indian civil rights.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/news/11780279/native-american-occupation-at-alcatraz-50-years\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/were-still-here-canoe-journey-to-alcatraz-to-remember/id1350043452?i=1000453734022\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/arts/13859970/rightnowish-miko-marks-and-the-oakland-rollers\">Oakland’s Rollerskating Country Singer\u003c/a>\u003cbr>\nFrom \u003cem>Rightnowish\u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13869929\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/oakland-rollers-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/oakland-rollers-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/oakland-rollers-800x450-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/oakland-rollers-800x450-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Where do country singing and roller skating collide? On a small cul-de-sac on the southern side of Lake Merritt in Oakland, according to musician Miko Marks.\u003c/p>\n\u003cp>“As soon as I put these skates on, I feel like I’m a kid again,” Marks says in this episode of \u003cem>Rightnowish\u003c/em>, KQED’s new arts and culture podcast hosted by Pendarvis Harshaw. After nearly a decade of touring the nation as a country singer, Marks’s love for roller skating completely transformed her sense of play—and her music. Put on your skates (and your headphones!) and listen to the full episode to hear more about Marks’s new sound and new take on life with wheels.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/arts/13859970/rightnowish-miko-marks-and-the-oakland-rollers\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/oaklands-rollerskating-country-singer/id1482187648?i=1000455674283\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/mindshift/54326/childhood-as-resume-building-why-play-needs-a-comeback\">Childhood as ‘Resume-Building’: Why Play Needs A Comeback\u003c/a>\u003cbr>\nFrom \u003cem>MindShift\u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13869973\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/DSC5859-1.jpg\" alt=\"\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/DSC5859-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/DSC5859-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/DSC5859-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/DSC5859-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/DSC5859-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/DSC5859-1-1200x801.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>Remember when you were a kid and there was a designated time just for playing? Free play—the kind of play where kids independently choose the activities and the rules—may be a thing of the past, according to this \u003cem>MindShift\u003c/em> episode. “We’re just seeing an out-of-balance life for kids,” says Scott Bedley, a fourth grade teacher, about the pressure for students to succeed academically from a very young age. “There is a learning value behind play if you just allow it to happen.”\u003c/p>\n\u003cp>Head back to the classroom with the \u003cem>MindShift\u003c/em> team to explore what play looks like today, and why it’s in need of a major comeback.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/mindshift/54326/childhood-as-resume-building-why-play-needs-a-comeback\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/childhood-as-resume-building-why-play-needs-a-comeback/id1078765985?i=1000448438239\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/6qS3AzC3Gv7nrON2PrezAS\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Wondering about the best podcasts for trips, long drives or (let’s face it) airport delays?\u003c/p>\n\u003cp>With the holidays fast approaching, chances are you’ll find yourself hitting the road or sky, and in need of binge-worthy audio to entertain you. Never fear: below, we’ve collected seven of the most immersive, compelling and (sorry) \u003cem>transporting\u003c/em> podcast episodes to recently come out of KQED.\u003c/p>\n\u003cp>Cue up these picks on your podcast platform of choice—or scroll to the end to download the Spotify playlist—and you’ll never be bored while stuck in traffic or delayed at the airport.\u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/news/11782405/tunnels-under-san-francisco-inside-the-dark-dangerous-world-of-the-sewers\">Secret Tunnels Under San Francisco? \u003c/a>\u003cbr>\nFrom \u003cem>Bay Curious\u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13869970\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>Every episode of \u003cem>Bay Curious\u003c/em> is sparked by audience curiosity about local conundrums–and they’ve received a \u003cem>lot\u003c/em> of questions about whether there’s a network of mystery tunnels under San Francisco. This dark-and-dirty episode takes listeners to a place it’s likely they will never actually visit; a very real labyrinth that sprawls deep underground—AKA the city’s vast sewer system.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Listen to the episode to explore this underworld with the \u003cem>Bay Curious\u003c/em> team. Between lethal gases, fast-flowing rivers of sewage and the risk of getting lost in the darkness, you’ll probably be glad to take this tour \u003cem>virtually\u003c/em> via your headphones, rather than IRL.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/news/11782405/tunnels-under-san-francisco-inside-the-dark-dangerous-world-of-the-sewers\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/secret-tunnels-under-san-francisco/id1172473406?i=1000455577910\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/news/11777723/blind-beekeeper-relies-on-the-sound-of-the-swarm-to-keep-her-hives-happy\">Blind Beekeeper Relies on Sound to Keep Her Hives Happy\u003c/a>\u003cbr>\nFrom \u003cem>The California Report Magazine\u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-13869926 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/RS39379_beekeeper2-qut-1020x679.jpg\" alt=\"\" width=\"1020\" height=\"679\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39379_beekeeper2-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39379_beekeeper2-qut-1020x679-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39379_beekeeper2-qut-1020x679-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39379_beekeeper2-qut-1020x679-768x511.jpg 768w\" sizes=\"(max-width: 1020px) 100vw, 1020px\">\u003c/p>\n\u003cp>“I didn’t think I could be a good beekeeper without being able to see.” This special episode from \u003cem>The California Report Magazine\u003c/em>’s weekly podcast immerses the listener in the world of Aerial: a Bay area nurse who lost her sight after using tampered eyedrops. Navigating her new reality, she found purpose and meaning in the hobby she’d enjoyed since she was a teen: beekeeping.\u003c/p>\n\u003cp>Listen as Aerial explains how she knows whether her swarm—she calls them “her girls”—are happy, and how to hear their “waggle dance” (the movement bees make to tell others where to find pollen). After experiencing this episode, you’ll never hear bees again the same way.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/news/11777723/blind-beekeeper-relies-on-the-sound-of-the-swarm-to-keep-her-hives-happy\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/blind-beekeeper-relies-on-sound-to-keep-her-hives-happy/id1314750545?i=1000452376183\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/pop/102783/queer-eyes-jonathan-van-ness-on-turning-red-states-pink-one-makeover-at-a-time\">\u003cem>Queer Eye\u003c/em>‘s Jonathan Van Ness on Turning Red States Pink\u003c/a>\u003cbr>\nFrom \u003cem>The Cooler\u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13869925\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/Jonathan-Van-Ness.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Jonathan-Van-Ness.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Jonathan-Van-Ness-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Jonathan-Van-Ness-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The most engrossing podcast interviews are the ones where you feel you’ve been teleported into the room with the people in question—and this 2018 interview with the infamously personable \u003cem>Queer Eye\u003c/em> star Jonathan Van Ness on KQED’s pop culture podcast \u003cem>The Cooler\u003c/em> is no exception.\u003c/p>\n\u003cp>In a conversation that ranges from raucous to heartfelt and intimate, Van Ness talks to hosts Emmanuel Hapsis, Jamedra Brown-Fleischman and Carly Severn about growing up gay in a small town, dealing with online trolls, the healing power of figure skating and a particularly controversial moment from \u003cem>Queer Eye\u003c/em>’s second season.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/pop/102783/queer-eyes-jonathan-van-ness-on-turning-red-states-pink-one-makeover-at-a-time\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/queer-eyes-jonathan-van-ness-on-turning-red-states-pink/id1041117499?i=1000407027183\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/podcasts/42/joy-may-16th\">Joy\u003c/a>\u003cbr>\nfrom \u003cem>Truth Be Told \u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13869927\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960.jpg\" alt=\"\" width=\"1920\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960-1200x600.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>Is it OK to feel joy when it feels like the world is burning? In the first episode of KQED’s advice show made by people of color for people of color, host Tonya Mosley brings us to her hometown of Detroit, Michigan—the “epicenter of pleasure in the midst of turmoil,” as she calls it. Mosley sits down with her grandmother Ernestine Mosley and \u003cem>New York Times\u003c/em> bestselling author Adrienne Maree Brown for some hard questions, deep laughs, and much-needed affirmations about why it’s not only OK to feel joy, but it’s absolutely necessary.\u003c/p>\n\u003cp>And stay tuned: \u003cem>Truth Be Told\u003c/em> returns for a second season in early 2020!\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/podcasts/42/joy-may-16th\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/joy-episode-1/id1462216572?i=1000438248776\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/news/11780279/native-american-occupation-at-alcatraz-50-years\">‘We’re Still Here’\u003c/a>\u003cbr>\nFrom\u003cem> The Bay\u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13869928\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/IMG_2671-1-1020x765.jpg\" alt=\"\" width=\"1020\" height=\"765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_2671-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_2671-1-1020x765-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_2671-1-1020x765-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_2671-1-1020x765-768x576.jpg 768w\" sizes=\"(max-width: 1020px) 100vw, 1020px\">\u003c/p>\n\u003cp>In this episode of\u003cem> The Bay\u003c/em>, KQED reporter Alice Woelfle follows along with Native people from across the West Coast in a ceremonial canoe journey around Alcatraz Island. First, we hear the building of a tule boat, then the sound of paddle hitting the water as members of different tribes, territories, communities and families embark on their paddle around the island before returning to shore to be greeted by Ohlone elders.\u003c/p>\n\u003cp>The paddle commemorated the 50-year anniversary of the occupation of Alcatraz, a movement which lasted 19 months and brought widespread visibility for American Indian civil rights.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/news/11780279/native-american-occupation-at-alcatraz-50-years\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/were-still-here-canoe-journey-to-alcatraz-to-remember/id1350043452?i=1000453734022\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/arts/13859970/rightnowish-miko-marks-and-the-oakland-rollers\">Oakland’s Rollerskating Country Singer\u003c/a>\u003cbr>\nFrom \u003cem>Rightnowish\u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13869929\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/oakland-rollers-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/oakland-rollers-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/oakland-rollers-800x450-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/oakland-rollers-800x450-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Where do country singing and roller skating collide? On a small cul-de-sac on the southern side of Lake Merritt in Oakland, according to musician Miko Marks.\u003c/p>\n\u003cp>“As soon as I put these skates on, I feel like I’m a kid again,” Marks says in this episode of \u003cem>Rightnowish\u003c/em>, KQED’s new arts and culture podcast hosted by Pendarvis Harshaw. After nearly a decade of touring the nation as a country singer, Marks’s love for roller skating completely transformed her sense of play—and her music. Put on your skates (and your headphones!) and listen to the full episode to hear more about Marks’s new sound and new take on life with wheels.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/arts/13859970/rightnowish-miko-marks-and-the-oakland-rollers\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/oaklands-rollerskating-country-singer/id1482187648?i=1000455674283\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/mindshift/54326/childhood-as-resume-building-why-play-needs-a-comeback\">Childhood as ‘Resume-Building’: Why Play Needs A Comeback\u003c/a>\u003cbr>\nFrom \u003cem>MindShift\u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13869973\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/DSC5859-1.jpg\" alt=\"\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/DSC5859-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/DSC5859-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/DSC5859-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/DSC5859-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/DSC5859-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/DSC5859-1-1200x801.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>Remember when you were a kid and there was a designated time just for playing? Free play—the kind of play where kids independently choose the activities and the rules—may be a thing of the past, according to this \u003cem>MindShift\u003c/em> episode. “We’re just seeing an out-of-balance life for kids,” says Scott Bedley, a fourth grade teacher, about the pressure for students to succeed academically from a very young age. “There is a learning value behind play if you just allow it to happen.”\u003c/p>\n\u003cp>Head back to the classroom with the \u003cem>MindShift\u003c/em> team to explore what play looks like today, and why it’s in need of a major comeback.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/mindshift/54326/childhood-as-resume-building-why-play-needs-a-comeback\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/childhood-as-resume-building-why-play-needs-a-comeback/id1078765985?i=1000448438239\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
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},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
"link": "/californiareport",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
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