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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bond, who officially begins in March, previously served as drama professor and head of the professional actor training program at the University of Washington following artistic direction roles at Oregon Shakespeare Festival and Seattle Group Theatre. \u003c/p>\n\u003cp>Decorated and in-demand as a director, teacher and organizational leader, Bond is also known as a prominent interpreter of the late playwright August Wilson and a promoter of inclusion and diversity in the theater world. \u003c/p>\n\u003cp>“I am thrilled to have the opportunity to continue Robert Kelley’s great work, and to lead this spirited company into its next exciting phase,” Bond said in a statement. \u003c/p>\n\u003cp>Roy Johnson, board chair of the company, in a statement noted Bond’s commitment to new works and diversity and inclusion. “We are confident he will honor the profound legacy of Robert Kelley, ensuring TheatreWorks continues the work Kelley began 50 years ago of presenting art that serves our community and contributes to the national theatre narrative,” Johnson said. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kelley, who announced his retirement in 2017, founded TheatreWorks Silicon Valley in 1970 and oversaw its growth from a youth troupe to one of the region’s largest theater companies. He is believed to hold the record for the longest run as artistic director at a professional League of Resident Theatres member. Last year TheatreWorks Silicon Valley \u003ca href=\"https://www.kqed.org/arts/13856208/theatreworks-silicon-valley-to-receive-regional-theatre-tony-award\">received\u003c/a> the 2019 Regional Theatre Tony Award on the recommendation of the American Theatre Critics Association. \u003c/p>\n\u003cp>As KQED \u003ca href=\"https://www.kqed.org/arts/13206427/theatreworks-founder-robert-kelley-retires-after-50-years\">previously reported\u003c/a>, under Kelley’s leadership TheatreWorks has become a launchpad for national hits and young actors destined for Hollywood and Broadway. The company has some 40 staff members, more than 8,000 subscribers, an annual budget exceeding $8 million and a reputation for fostering new works by emerging artists. The nonprofit organization presents several productions each season at Mountain View and Palo Alto venues. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I don’t think the company could have made a better choice,” Kelley said of Bond in a statement. “A highly respected, nationally known director, Tim also has the personal qualities and values we have always treasured at TheatreWorks.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The iconic Bay Area record store Rasputin Music is closing its Haight Street location, employees told \u003ca href=\"https://www.sfweekly.com/news/rasputin-music-haight-ashbury-closes/\" target=\"_blank\" rel=\"noopener\">\u003cem>SF Weekly\u003c/em>\u003c/a> on background. A destination for vinyl and CDs among the strip of quirky shops and restaurants, the store opened in 2013 as an expansion of the popular local chain founded by Ken Sarachan in Berkeley in 1971.\u003c/p>\n\u003cp>When reached by phone, a Rasputin Haight Street employee declined to comment on the reason for the closure, and did not deny that the store is closing. Christin Evans, president of the Haight Ashbury Merchants Association, told \u003cem>SF Weekly\u003c/em> that sales have been down by 30 percent for retailers in the area.\u003c/p>\n\u003cp>Rasputin most recently closed its \u003ca href=\"https://www.kqed.org/arts/11246364/rasputin-music-shutters-union-square-location\" target=\"_blank\" rel=\"noopener\">Union Square location\u003c/a> on Powell Street in 2016. It has six other locations, including the original one in Berkeley. We’ve reached out to Rasputin’s business office for comment and will update this post when we hear more.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The iconic Bay Area record store Rasputin Music is closing its Haight Street location, employees told \u003ca href=\"https://www.sfweekly.com/news/rasputin-music-haight-ashbury-closes/\" target=\"_blank\" rel=\"noopener\">\u003cem>SF Weekly\u003c/em>\u003c/a> on background. A destination for vinyl and CDs among the strip of quirky shops and restaurants, the store opened in 2013 as an expansion of the popular local chain founded by Ken Sarachan in Berkeley in 1971.\u003c/p>\n\u003cp>When reached by phone, a Rasputin Haight Street employee declined to comment on the reason for the closure, and did not deny that the store is closing. Christin Evans, president of the Haight Ashbury Merchants Association, told \u003cem>SF Weekly\u003c/em> that sales have been down by 30 percent for retailers in the area.\u003c/p>\n\u003cp>Rasputin most recently closed its \u003ca href=\"https://www.kqed.org/arts/11246364/rasputin-music-shutters-union-square-location\" target=\"_blank\" rel=\"noopener\">Union Square location\u003c/a> on Powell Street in 2016. It has six other locations, including the original one in Berkeley. We’ve reached out to Rasputin’s business office for comment and will update this post when we hear more.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Tourism in Oakland isn’t new. Hell, even in the 1800s, when colonizers settled in the Bay and built San Francisco into a world-class city, Oakland was the other coast—or “contra costa”—where wealthy folks would buy summer vacation homes to get away from the big city.\u003c/p>\n\u003cp>Nearly 200 years later, tourism in Oakland is still a thing. According to \u003ca href=\"https://assets.simpleviewinc.com/simpleview/image/upload/v1/clients/oakland/vo_annual_report_v14web_8c3853f1-5a7f-47d4-af9c-dce272897864.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Visit Oakland’s 2018 Annual Report\u003c/a>, an estimated 3.8 million people visited Oakland in 2017, bringing $668 million along with them (a 6.5% increase from the previous year). Oakland has been mentioned as a top tourism destination in the \u003cem>New York Times\u003c/em>, \u003cem>Essence\u003c/em> and, most recently, \u003ca href=\"https://travelnoire.com/48-hours-black-owned-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">this Travel Noire piece\u003c/a> about spending 48 hours in black-owned Oakland.\u003c/p>\n\u003cp>This Thursday through Saturday, when Oakland hosts this year’s AfroTech conference, thousands of new people will become part of that history of tourism in Oakland.\u003c/p>\n\u003cp>The conference is one of the biggest tech happenings in the United States. You might’ve heard of it—if for nothing else, its mention by Jay-Z in the song “Legacy”:\u003c/p>\n\u003cblockquote>\u003cp>We gon’ start a society within a society\u003cbr>\nThat’s major, just like the Negro League\u003cbr>\nThere was a time America wouldn’t let us ball\u003cbr>\nThose times are now back, just now called AfroTech\u003c/p>\u003c/blockquote>\n\u003cp>This event or, um, “society within a society,” started in 2014. This year will be the first of two scheduled years for it to take place in Oakland. And in 2019, it’s set to be one of the largest conferences to happen in the town.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Oakland is a natural choice—in the heart of Silicon Valley, but often overlooked,” says Morgan DeBaun, founder of Blavity Inc., which produces AfroTech.\u003c/p>\n\u003cp>The aim of the conference is twofold: one, to create opportunities for black folks in the tech industry. Secondly, DeBaun adds, to “create spaces for the tech industry to get access to black talent.”\u003c/p>\n\u003cp>The conversation about diversity and the tech pipeline isn’t new. Just last month \u003ca href=\"https://www.wired.com/story/five-years-tech-diversity-reports-little-progress/\" target=\"_blank\" rel=\"noopener noreferrer\">Wired\u003c/a> noted that while a few big-name tech companies—Facebook, Apple, Google, Amazon and Microsoft—have been transparent about their diversity numbers for the past five years, still, virtually nothing has changed.\u003c/p>\n\u003cp>But folks like DeBaun believe that the narrative about a lack of access is inaccurate. “People aren’t looking in the right places,” she says. “AfroTech is breaking down those barriers.”\u003c/p>\n\u003cp>Over the three-day span, events will take place all around Oakland’s downtown area, from the Marriott Convention Center to Jack London Square, and what some folks refer to as the Uptown neighborhood; \u003ca href=\"https://experience.afrotech.com/schedule/\" target=\"_blank\" rel=\"noopener noreferrer\">here’s a full list of happenings\u003c/a>.\u003c/p>\n\u003cp>One event this weekend that’s not on that list is \u003ca href=\"https://thetownexperience.com/product/game-fest-19/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Gameday ’19\u003c/a>, at the Esports Arena on Saturday night. It features a who’s-who of local stars—E-40, Mistah FAB, Ryan Nicole and more—not only speaking on panels, but squaring off against a bunch of young folks in a video game battle royale.\u003c/p>\n\u003cp>Gameday ’19 isn’t an official AfroTech event, although it’s happening during AfroTech. Instead, it’s put on by \u003ca href=\"https://thetownexperience.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Town Experience\u003c/a>, a slate of events that include happy hours, speaker panels and more.\u003c/p>\n\u003cfigure id=\"attachment_13869422\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869422\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/0-800x1080.jpg\" alt=\"Charlese Banks\" width=\"800\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/0-800x1080.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/0-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/0-768x1036.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/0-889x1200.jpg 889w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/0.jpg 987w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Charlese Banks (Photo: Jeff “Silence” Arthur) \u003ccite>(Jeff \"Silence\" Arthur )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Town Experience is founded and run by Charlese Banks, who wants to add some flavor to Oakland’s growing tourism industry.\u003c/p>\n\u003cp>“The idea was to give the conference-goers and travelers an authentic Oakland experience while they’re in town,” says Banks. (She was mindful to “do this in a way that’s not competing with each other,” scheduling events on the frontend and backend of AfroTech.)\u003c/p>\n\u003cp>In theory, Banks’ idea is a way of combating the gentrifying force that’s inherently intertwined with the tourism industry. People want to visit Oakland? Ok, well, they can spend their dollars in businesses owned and operated by folks actually from the community, and who are invested in the future of the town. Part of that means putting special decals in the windows of businesses like Spice Monkey and Dope Era to give shine to locally owned and operated shops.\u003c/p>\n\u003cp>“I was inspired by the fact that [AfroTech] announced they were coming to Oakland, and figured that as a community, we should have some say on what that looks like,” says Banks. “AfroTech is a predominantly black event, and they’re coming to a city that is in line with that.”\u003c/p>\n\u003cp>Banks, a San Jose native who’s called Oakland home for over six years, tells me this is a model for things to come. “The idea was inspired by this weekend, but I spoke to the tourism department and realized it’s something bigger. Seems like the time is right,” Banks says.\u003c/p>\n\u003cp>The time \u003cem>is\u003c/em> right: last year in the United States, \u003ca href=\"https://www.globenewswire.com/news-release/2018/12/20/1670310/0/en/African-American-Travel-Represents-63-Billion-Opportunity.html\" target=\"_blank\" rel=\"noopener noreferrer\">African Americans reportedly spent $63 billion on tourism\u003c/a>. And in Oakland, where black businesses are going the way of its rapidly depleting black population, it’s now or never when it comes to putting the black dollar where it’s needed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’re an event space and tourism guide for black and brown folks in Oakland,” says Banks. “Think: how would people use \u003ca href=\"https://www.smithsonianmag.com/arts-culture/true-story-green-book-movie-180970728/\" target=\"_blank\" rel=\"noopener noreferrer\">the Green Book\u003c/a> as a tool in Oakland?”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tourism in Oakland isn’t new. Hell, even in the 1800s, when colonizers settled in the Bay and built San Francisco into a world-class city, Oakland was the other coast—or “contra costa”—where wealthy folks would buy summer vacation homes to get away from the big city.\u003c/p>\n\u003cp>Nearly 200 years later, tourism in Oakland is still a thing. According to \u003ca href=\"https://assets.simpleviewinc.com/simpleview/image/upload/v1/clients/oakland/vo_annual_report_v14web_8c3853f1-5a7f-47d4-af9c-dce272897864.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Visit Oakland’s 2018 Annual Report\u003c/a>, an estimated 3.8 million people visited Oakland in 2017, bringing $668 million along with them (a 6.5% increase from the previous year). Oakland has been mentioned as a top tourism destination in the \u003cem>New York Times\u003c/em>, \u003cem>Essence\u003c/em> and, most recently, \u003ca href=\"https://travelnoire.com/48-hours-black-owned-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">this Travel Noire piece\u003c/a> about spending 48 hours in black-owned Oakland.\u003c/p>\n\u003cp>This Thursday through Saturday, when Oakland hosts this year’s AfroTech conference, thousands of new people will become part of that history of tourism in Oakland.\u003c/p>\n\u003cp>The conference is one of the biggest tech happenings in the United States. You might’ve heard of it—if for nothing else, its mention by Jay-Z in the song “Legacy”:\u003c/p>\n\u003cblockquote>\u003cp>We gon’ start a society within a society\u003cbr>\nThat’s major, just like the Negro League\u003cbr>\nThere was a time America wouldn’t let us ball\u003cbr>\nThose times are now back, just now called AfroTech\u003c/p>\u003c/blockquote>\n\u003cp>This event or, um, “society within a society,” started in 2014. This year will be the first of two scheduled years for it to take place in Oakland. And in 2019, it’s set to be one of the largest conferences to happen in the town.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Oakland is a natural choice—in the heart of Silicon Valley, but often overlooked,” says Morgan DeBaun, founder of Blavity Inc., which produces AfroTech.\u003c/p>\n\u003cp>The aim of the conference is twofold: one, to create opportunities for black folks in the tech industry. Secondly, DeBaun adds, to “create spaces for the tech industry to get access to black talent.”\u003c/p>\n\u003cp>The conversation about diversity and the tech pipeline isn’t new. Just last month \u003ca href=\"https://www.wired.com/story/five-years-tech-diversity-reports-little-progress/\" target=\"_blank\" rel=\"noopener noreferrer\">Wired\u003c/a> noted that while a few big-name tech companies—Facebook, Apple, Google, Amazon and Microsoft—have been transparent about their diversity numbers for the past five years, still, virtually nothing has changed.\u003c/p>\n\u003cp>But folks like DeBaun believe that the narrative about a lack of access is inaccurate. “People aren’t looking in the right places,” she says. “AfroTech is breaking down those barriers.”\u003c/p>\n\u003cp>Over the three-day span, events will take place all around Oakland’s downtown area, from the Marriott Convention Center to Jack London Square, and what some folks refer to as the Uptown neighborhood; \u003ca href=\"https://experience.afrotech.com/schedule/\" target=\"_blank\" rel=\"noopener noreferrer\">here’s a full list of happenings\u003c/a>.\u003c/p>\n\u003cp>One event this weekend that’s not on that list is \u003ca href=\"https://thetownexperience.com/product/game-fest-19/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Gameday ’19\u003c/a>, at the Esports Arena on Saturday night. It features a who’s-who of local stars—E-40, Mistah FAB, Ryan Nicole and more—not only speaking on panels, but squaring off against a bunch of young folks in a video game battle royale.\u003c/p>\n\u003cp>Gameday ’19 isn’t an official AfroTech event, although it’s happening during AfroTech. Instead, it’s put on by \u003ca href=\"https://thetownexperience.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Town Experience\u003c/a>, a slate of events that include happy hours, speaker panels and more.\u003c/p>\n\u003cfigure id=\"attachment_13869422\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869422\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/0-800x1080.jpg\" alt=\"Charlese Banks\" width=\"800\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/0-800x1080.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/0-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/0-768x1036.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/0-889x1200.jpg 889w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/0.jpg 987w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Charlese Banks (Photo: Jeff “Silence” Arthur) \u003ccite>(Jeff \"Silence\" Arthur )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Town Experience is founded and run by Charlese Banks, who wants to add some flavor to Oakland’s growing tourism industry.\u003c/p>\n\u003cp>“The idea was to give the conference-goers and travelers an authentic Oakland experience while they’re in town,” says Banks. (She was mindful to “do this in a way that’s not competing with each other,” scheduling events on the frontend and backend of AfroTech.)\u003c/p>\n\u003cp>In theory, Banks’ idea is a way of combating the gentrifying force that’s inherently intertwined with the tourism industry. People want to visit Oakland? Ok, well, they can spend their dollars in businesses owned and operated by folks actually from the community, and who are invested in the future of the town. Part of that means putting special decals in the windows of businesses like Spice Monkey and Dope Era to give shine to locally owned and operated shops.\u003c/p>\n\u003cp>“I was inspired by the fact that [AfroTech] announced they were coming to Oakland, and figured that as a community, we should have some say on what that looks like,” says Banks. “AfroTech is a predominantly black event, and they’re coming to a city that is in line with that.”\u003c/p>\n\u003cp>Banks, a San Jose native who’s called Oakland home for over six years, tells me this is a model for things to come. “The idea was inspired by this weekend, but I spoke to the tourism department and realized it’s something bigger. Seems like the time is right,” Banks says.\u003c/p>\n\u003cp>The time \u003cem>is\u003c/em> right: last year in the United States, \u003ca href=\"https://www.globenewswire.com/news-release/2018/12/20/1670310/0/en/African-American-Travel-Represents-63-Billion-Opportunity.html\" target=\"_blank\" rel=\"noopener noreferrer\">African Americans reportedly spent $63 billion on tourism\u003c/a>. And in Oakland, where black businesses are going the way of its rapidly depleting black population, it’s now or never when it comes to putting the black dollar where it’s needed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’re an event space and tourism guide for black and brown folks in Oakland,” says Banks. “Think: how would people use \u003ca href=\"https://www.smithsonianmag.com/arts-culture/true-story-green-book-movie-180970728/\" target=\"_blank\" rel=\"noopener noreferrer\">the Green Book\u003c/a> as a tool in Oakland?”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bay Area Teacher Uses Lizzo to Teach Second Graders How to Be Great",
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"content": "\u003cp>In case anyone was still in any doubt over the fact that our nation’s teachers are American heroes, please take a moment to salute Ms. Mallari of \u003ca href=\"https://www.pittsburg.k12.ca.us/losmedanos\" target=\"_blank\" rel=\"noopener\">Los Medanos Elementary School\u003c/a> in Pittsburg. The ridiculously cool second grade teacher is helping her students learn about responsibility, respect and supporting each other, via an adapted version of Lizzo’s “Truth Hurts”—and just a little dancing on the furniture.\u003c/p>\n\u003cp>Ms. Mallari keeps the song totally kid-friendly, changing Lizzo’s lyrics to fit the young audience. The most famous line in “Truth Hurts,” for example, gets changed to: “I just took an ELA test, turns out, I’m 100 percent that smart.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=41&v=TzM6IwxGuB4\u003c/p>\n\u003cp>The 75-second clip went viral almost immediately, with an outpouring of support on social media from the likes of \u003ca href=\"https://twitter.com/PittsburgPD/status/1191933643096092672\" target=\"_blank\" rel=\"noopener\">Pittsburg’s police department\u003c/a> and, oh yes, Lizzo herself.\u003c/p>\n\u003cp>https://twitter.com/lizzo/status/1192219867598016512\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bravo, Ms. Mallari. Bravo.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In case anyone was still in any doubt over the fact that our nation’s teachers are American heroes, please take a moment to salute Ms. Mallari of \u003ca href=\"https://www.pittsburg.k12.ca.us/losmedanos\" target=\"_blank\" rel=\"noopener\">Los Medanos Elementary School\u003c/a> in Pittsburg. The ridiculously cool second grade teacher is helping her students learn about responsibility, respect and supporting each other, via an adapted version of Lizzo’s “Truth Hurts”—and just a little dancing on the furniture.\u003c/p>\n\u003cp>Ms. Mallari keeps the song totally kid-friendly, changing Lizzo’s lyrics to fit the young audience. The most famous line in “Truth Hurts,” for example, gets changed to: “I just took an ELA test, turns out, I’m 100 percent that smart.”\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/TzM6IwxGuB4'\n title='//www.youtube.com/embed/TzM6IwxGuB4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The 75-second clip went viral almost immediately, with an outpouring of support on social media from the likes of \u003ca href=\"https://twitter.com/PittsburgPD/status/1191933643096092672\" target=\"_blank\" rel=\"noopener\">Pittsburg’s police department\u003c/a> and, oh yes, Lizzo herself.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bravo, Ms. Mallari. Bravo.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A proposed Museum of Jazz and Art for the current site of a historic, city-owned building near downtown Oakland and Lake Merritt proceeded Tuesday over objections from parklands and public library advocates, indicating more private development of public land around Lake Merritt.\u003c/p>\n\u003cp>Oakland City Council on Tuesday voted to waive a competitive process generally required for leasing or selling city-owned property and begin negotiating with the \u003ca href=\"https://www.moja-us.org/\">Museum of Jazz and Art\u003c/a> (MOJA) team to develop the parcel at 1310 Oak Street, currently the site of a parking lot and the Fire Alarm Building completed in 1911. The design proposal calls for building a three-story education and exhibition center in what’s now the parking lot, and preserving the historic structure.\u003c/p>\n\u003cp>[aside postID=arts_13865204,arts_13861121]\u003c/p>\n\u003cp>The proposed 70,000-square-foot facility including a 400-capacity venue—still in its development infancy—is the longtime dream of Oakland architectural engineer David Allen, but he told KQED it’s too early to detail financing for the estimated $90 million project.\u003c/p>\n\u003cp>The Museum of Jazz and Art previously vied unsuccessfully for sites in downtown Oakland and Jack London Square. The nonprofit organization has reported $170,000 in revenue since 2013, and lists on its board of directors former Pandora Media executive Joe Kennedy. Allen provided letters of support for MOJA from congressperson Barbara Lee and the Tomkat Foundation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>MOJA has provided little information about the proposed museum’s collection and programming. Its website promises musician grants and low-interest loans, tutoring and mentorship, support for existing Oakland youth jazz programs, and a national jazz hall of fame. “The most important thing is the public benefit component,” Allen said, adding that if the Oak Street site falls through he intends to shop the museum in Los Angeles or San Francisco.\u003c/p>\n\u003cp>Supporters say MOJA will provide creative and economic benefits that realize the city’s cultural equity goals, plus anchor the Black Arts Movement and Business District (BAMBD), which has sought greater public investment for years. Councilmember Nikki Fortunato-Bas, who introduced the resolution with colleague Lynette Gibson-McElhaney, called it an opportunity to preserve Oakland’s cultural heritage, and noted her experience mediating tense public benefits negotiations for the Henry J. Kaiser Convention Center development.\u003c/p>\n\u003cp>“What we’re moving forward is the very beginning of a process,” said Fortunato-Bas.\u003c/p>\n\u003cp>BAMBD spokesperson Eric Arnold and several local activists and arts figures including Carroll Fife of Alliance of Californians for Community Empowerment and Leah King of Youth Speaks commented in favor of the project. They said it would redress the injustices of urban renewal, mentioning BART construction destroying West Oakland’s black nightlife corridor.\u003c/p>\n\u003cp>“This would be a giant step, to paraphrase John Coltrane, in implementing the cultural equity called for in the cultural plan,” Arnold said.\u003c/p>\n\u003cp>“Where public land cannot be used for housing, it’s important to use it for cultural preservation,” Fife said. “Preserve the property for the public good.” \u003c/p>\n\u003cfigure id=\"attachment_13869361\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869361\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/IMG_3844-800x450.gif\" alt=\"The Fire Alarm Building at 1310 Oak Street is currently used by city employees.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_3844-800x450.gif 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_3844-160x90.gif 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_3844-768x432.gif 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_3844-1020x574.gif 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_3844-1200x675.gif 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_3844-1920x1080.gif 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Fire Alarm Building at 1310 Oak Street is currently used by city employees.\u003c/figcaption>\u003c/figure>\n\u003cp>The property consists of approximately one acre in the shadow of the Alameda County Superior Courthouse and the Oakland Public Library Main Branch, with the single-story, 4,500 square foot Fire Alarm Building surrounded by trees, parking and, lately, tents. The structure is used by city employees in various departments, and Lake Chalet restaurant leases some of the parking.\u003c/p>\n\u003cp>Members of the Coalition of Advocates for Lake Merritt (CALM) and supporters of the Oakland Public Library said Tuesday and at an earlier committee hearing that councilmembers are advancing the MOJA proposal prematurely. The Fire Alarm Building has been identified in planning documents as an ideal expansion site for the library’s main branch, and they believe the MOJA negotiations should pause pending the library’s planned feasibility study of the site.\u003c/p>\n\u003cp>“The library could do more, but its main branch is too small and outdated to meet the needs of Oakland’s population,” said retired Oakland librarian Helen Bloch at an Oct. 22 committee hearing. “I ask that, because this is public land, the site be studied for uses that benefit all Oaklanders.”\u003c/p>\n\u003cfigure id=\"attachment_13869363\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869363\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/IMG_3850-800x450.gif\" alt=\"The Fire Alarm Building is surrounded by a parking lot, trees and, lately, tents.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_3850-800x450.gif 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_3850-160x90.gif 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_3850-768x432.gif 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_3850-1020x574.gif 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_3850-1200x675.gif 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_3850-1920x1080.gif 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Fire Alarm Building is surrounded by a parking lot, trees and, lately, tents. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>CALM member John Klein said the organization previously opposed development on the Oak Street parcel, and suggested other sites for MOJA. The land around the Fire Alarm Building should remain open space, he said, and be better incorporated into the greenbelt surrounding Lake Merritt. “18 years we’ve been looking out for this property,” Klein said. “Here we are again.”\u003c/p>\n\u003cp>James Vann of CALM also argued Tuesday that councilmembers are violating California’s Surplus Land Act, which requires government agencies to prioritize affordable housing when leasing or selling public land, and urged them not to \u003ca href=\"https://www.eastbayexpress.com/SevenDays/archives/2015/07/06/breaking-news-oakland-city-attorney-said-luxury-tower-deal-is-illegal\">repeat\u003c/a> the mistake. Underlying the tension is the city’s delay in creating a promised policy for the disposition of public properties that could be used as emergency homeless shelters or affordable housing.\u003c/p>\n\u003cp>Naomi Schiff of the Oakland Heritage Alliance, a preservationist group, shared concern at the Oct. 22 hearing that the project continues a trend of privatizing historic civic structures, a common criticism of the recent Kaiser Convention Center development deal.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I like jazz, I like museums,” she said. “I’m also extremely concerned about nibbling away at the public realm.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>MOJA has provided little information about the proposed museum’s collection and programming. Its website promises musician grants and low-interest loans, tutoring and mentorship, support for existing Oakland youth jazz programs, and a national jazz hall of fame. “The most important thing is the public benefit component,” Allen said, adding that if the Oak Street site falls through he intends to shop the museum in Los Angeles or San Francisco.\u003c/p>\n\u003cp>Supporters say MOJA will provide creative and economic benefits that realize the city’s cultural equity goals, plus anchor the Black Arts Movement and Business District (BAMBD), which has sought greater public investment for years. Councilmember Nikki Fortunato-Bas, who introduced the resolution with colleague Lynette Gibson-McElhaney, called it an opportunity to preserve Oakland’s cultural heritage, and noted her experience mediating tense public benefits negotiations for the Henry J. Kaiser Convention Center development.\u003c/p>\n\u003cp>“What we’re moving forward is the very beginning of a process,” said Fortunato-Bas.\u003c/p>\n\u003cp>BAMBD spokesperson Eric Arnold and several local activists and arts figures including Carroll Fife of Alliance of Californians for Community Empowerment and Leah King of Youth Speaks commented in favor of the project. They said it would redress the injustices of urban renewal, mentioning BART construction destroying West Oakland’s black nightlife corridor.\u003c/p>\n\u003cp>“This would be a giant step, to paraphrase John Coltrane, in implementing the cultural equity called for in the cultural plan,” Arnold said.\u003c/p>\n\u003cp>“Where public land cannot be used for housing, it’s important to use it for cultural preservation,” Fife said. “Preserve the property for the public good.” \u003c/p>\n\u003cfigure id=\"attachment_13869361\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869361\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/IMG_3844-800x450.gif\" alt=\"The Fire Alarm Building at 1310 Oak Street is currently used by city employees.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_3844-800x450.gif 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_3844-160x90.gif 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_3844-768x432.gif 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_3844-1020x574.gif 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_3844-1200x675.gif 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_3844-1920x1080.gif 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Fire Alarm Building at 1310 Oak Street is currently used by city employees.\u003c/figcaption>\u003c/figure>\n\u003cp>The property consists of approximately one acre in the shadow of the Alameda County Superior Courthouse and the Oakland Public Library Main Branch, with the single-story, 4,500 square foot Fire Alarm Building surrounded by trees, parking and, lately, tents. The structure is used by city employees in various departments, and Lake Chalet restaurant leases some of the parking.\u003c/p>\n\u003cp>Members of the Coalition of Advocates for Lake Merritt (CALM) and supporters of the Oakland Public Library said Tuesday and at an earlier committee hearing that councilmembers are advancing the MOJA proposal prematurely. The Fire Alarm Building has been identified in planning documents as an ideal expansion site for the library’s main branch, and they believe the MOJA negotiations should pause pending the library’s planned feasibility study of the site.\u003c/p>\n\u003cp>“The library could do more, but its main branch is too small and outdated to meet the needs of Oakland’s population,” said retired Oakland librarian Helen Bloch at an Oct. 22 committee hearing. “I ask that, because this is public land, the site be studied for uses that benefit all Oaklanders.”\u003c/p>\n\u003cfigure id=\"attachment_13869363\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869363\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/IMG_3850-800x450.gif\" alt=\"The Fire Alarm Building is surrounded by a parking lot, trees and, lately, tents.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_3850-800x450.gif 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_3850-160x90.gif 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_3850-768x432.gif 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_3850-1020x574.gif 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_3850-1200x675.gif 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_3850-1920x1080.gif 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Fire Alarm Building is surrounded by a parking lot, trees and, lately, tents. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>CALM member John Klein said the organization previously opposed development on the Oak Street parcel, and suggested other sites for MOJA. The land around the Fire Alarm Building should remain open space, he said, and be better incorporated into the greenbelt surrounding Lake Merritt. “18 years we’ve been looking out for this property,” Klein said. “Here we are again.”\u003c/p>\n\u003cp>James Vann of CALM also argued Tuesday that councilmembers are violating California’s Surplus Land Act, which requires government agencies to prioritize affordable housing when leasing or selling public land, and urged them not to \u003ca href=\"https://www.eastbayexpress.com/SevenDays/archives/2015/07/06/breaking-news-oakland-city-attorney-said-luxury-tower-deal-is-illegal\">repeat\u003c/a> the mistake. Underlying the tension is the city’s delay in creating a promised policy for the disposition of public properties that could be used as emergency homeless shelters or affordable housing.\u003c/p>\n\u003cp>Naomi Schiff of the Oakland Heritage Alliance, a preservationist group, shared concern at the Oct. 22 hearing that the project continues a trend of privatizing historic civic structures, a common criticism of the recent Kaiser Convention Center development deal.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I like jazz, I like museums,” she said. “I’m also extremely concerned about nibbling away at the public realm.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Novelist Ernest J. Gaines, acclaimed author of \u003cem>The Autobiography of Miss Jane Pittman\u003c/em>, and other novels about the struggles of African Americans in rural Louisiana, died at his home in Oscar, La., Tuesday at the age of 86.\u003c/p>\n\u003cp>Gaines died in his sleep of cardiac arrest, \u003ca href=\"https://apnews.com/e9fe833a0686427eaa6cf3cc768d264d\">according\u003c/a> to The Associated Press, citing the Baton Rouge Area Foundation. He is survived by his wife Dianne Saulney Gaines, four stepchildren and nine siblings.\u003c/p>\n\u003cp>The son of sharecroppers, Gaines was born on a plantation in Pointe Coupee Parish, near Baton Rouge. He attended school for little more than five months out of the year. But that was more education than his family before him had received. He would say later in life that his ear for the stories of his elders was developed as he wrote letters for adults who couldn’t read or write.\u003c/p>\n\u003cp>In the late 1940s, at the age of 15, his family moved to the Northern California city of Vallejo, about 30 miles north of San Francisco. He told \u003ca href=\"https://www.youtube.com/watch?v=aTHwqrPLu7Y\">interviewer Lawrence Bridges\u003c/a> that in California he could do something that had been forbidden in the South: visit a library. Gaines later attended San Francisco State University. His early writing earned him a Wallace Stegner fellowship at Stanford University.\u003c/p>\n\u003cp>Gaines returned to Louisiana in 1963, inspired by James Meredith’s bid to enroll in the then-all-white University of Mississippi. He took it as a sign that the South was changing and that he could be a part of that change.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“As I’ve said many times before, the two greatest moves I’ve made was on the day I left Louisiana in ’48, and on the day I came back to Louisiana in ’63,” he would later \u003ca href=\"https://www.braf.org/stories/2019/11/5/an-interview-with-the-late-ernest-j-gaines-from-2007\">tell an interviewer\u003c/a>.\u003c/p>\n\u003cp>Less than 10 years later, in 1971, he published the novel that brought him attention, \u003cem>The Autobiography of Miss Jane Pittman\u003c/em>. It told the story of a black woman born as a slave who lives long enough to witness the civil rights era. It was later adapted for a television movie in 1974 starring Cicely Tyson and won nine Emmy Awards.\u003c/p>\n\u003cp>Gaines would \u003ca href=\"https://www.washingtonpost.com/local/obituaries/ernest-j-gaines-author-of-autobiography-of-miss-jane-pittman-dies-at-86/2019/11/05/2b89840c-000b-11ea-8bab-0fc209e065a8_story.html\">later say\u003c/a> that the fictional Jane Pittman was modeled after his disabled great-aunt, Augustine Jefferson, who could not walk, but was strong enough to raise a family.\u003c/p>\n\u003cp>Another novel, \u003cem>A Gathering of Old Men,\u003c/em> a tale of a group of aging black men sharing stories about their lives in rural and segregated Louisiana, published in 1983, was made into a movie in 1987.\u003c/p>\n\u003cp>Gaines won the National Book Critics Circle Award in 1993 for his novel\u003cem> A Lesson Before Dying\u003c/em>, a story about a young Southern black man waiting to be executed for a crime he did not commit. It later became a best-seller.\u003c/p>\n\u003cp>Gaines \u003ca href=\"https://www.washingtonpost.com/local/obituaries/ernest-j-gaines-author-of-autobiography-of-miss-jane-pittman-dies-at-86/2019/11/05/2b89840c-000b-11ea-8bab-0fc209e065a8_story.html\">published eight novels\u003c/a> and many short stories.\u003c/p>\n\u003cp>Gaines was honored with \u003ca href=\"https://www.nytimes.com/2019/11/05/books/ernest-gaines-dead.html\">numerous other awards\u003c/a> including a Guggenheim Fellowship and grants from the National Endowment for the Arts. He was named a MacArthur Fellow — the coveted “genius grant”– in 1993. President Bill Clinton \u003ca href=\"https://www.neh.gov/about/awards/national-humanities-medals/ernest-j-gaines\">awarded \u003c/a>Gaines the National Humanities Medal in 2000. In 2013, President Barack Obama \u003ca href=\"https://www.achievement.org/achiever/ernest-j-gaines/\">awarded \u003c/a>him the National Medal of Arts.\u003c/p>\n\u003cp>With the earnings from his books and television movies, Gaines built a home on plantation land he had worked as a child and near a cemetery where his family members were buried.\u003c/p>\n\u003cp>In an interview with Fourth Quarter 2007, published by the \u003ca href=\"https://www.braf.org/stories/2019/11/5/an-interview-with-the-late-ernest-j-gaines-from-2007\">Baton Rouge Area Foundation\u003c/a>, Gaines talked about his home in False River, La. — the nexus between the past and the present, and between the land and his ancestors whose lives and labor inspired his work.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“If Auntie [Augusteen Jefferson] could sit here with me, or my stepfather who took me away from here, or my Uncle George, who used to take me to those old beat-up bars in Baton Rouge—if I could, I’d just buy him a good glass of Gentleman Jack, and we could sit here and talk. Oh, I wish I could do that.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Novelist+Ernest+J.+Gaines+Dies+At+Age+86&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Novelist Ernest J. Gaines, acclaimed author of \u003cem>The Autobiography of Miss Jane Pittman\u003c/em>, and other novels about the struggles of African Americans in rural Louisiana, died at his home in Oscar, La., Tuesday at the age of 86.\u003c/p>\n\u003cp>Gaines died in his sleep of cardiac arrest, \u003ca href=\"https://apnews.com/e9fe833a0686427eaa6cf3cc768d264d\">according\u003c/a> to The Associated Press, citing the Baton Rouge Area Foundation. He is survived by his wife Dianne Saulney Gaines, four stepchildren and nine siblings.\u003c/p>\n\u003cp>The son of sharecroppers, Gaines was born on a plantation in Pointe Coupee Parish, near Baton Rouge. He attended school for little more than five months out of the year. But that was more education than his family before him had received. He would say later in life that his ear for the stories of his elders was developed as he wrote letters for adults who couldn’t read or write.\u003c/p>\n\u003cp>In the late 1940s, at the age of 15, his family moved to the Northern California city of Vallejo, about 30 miles north of San Francisco. He told \u003ca href=\"https://www.youtube.com/watch?v=aTHwqrPLu7Y\">interviewer Lawrence Bridges\u003c/a> that in California he could do something that had been forbidden in the South: visit a library. Gaines later attended San Francisco State University. His early writing earned him a Wallace Stegner fellowship at Stanford University.\u003c/p>\n\u003cp>Gaines returned to Louisiana in 1963, inspired by James Meredith’s bid to enroll in the then-all-white University of Mississippi. He took it as a sign that the South was changing and that he could be a part of that change.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“As I’ve said many times before, the two greatest moves I’ve made was on the day I left Louisiana in ’48, and on the day I came back to Louisiana in ’63,” he would later \u003ca href=\"https://www.braf.org/stories/2019/11/5/an-interview-with-the-late-ernest-j-gaines-from-2007\">tell an interviewer\u003c/a>.\u003c/p>\n\u003cp>Less than 10 years later, in 1971, he published the novel that brought him attention, \u003cem>The Autobiography of Miss Jane Pittman\u003c/em>. It told the story of a black woman born as a slave who lives long enough to witness the civil rights era. It was later adapted for a television movie in 1974 starring Cicely Tyson and won nine Emmy Awards.\u003c/p>\n\u003cp>Gaines would \u003ca href=\"https://www.washingtonpost.com/local/obituaries/ernest-j-gaines-author-of-autobiography-of-miss-jane-pittman-dies-at-86/2019/11/05/2b89840c-000b-11ea-8bab-0fc209e065a8_story.html\">later say\u003c/a> that the fictional Jane Pittman was modeled after his disabled great-aunt, Augustine Jefferson, who could not walk, but was strong enough to raise a family.\u003c/p>\n\u003cp>Another novel, \u003cem>A Gathering of Old Men,\u003c/em> a tale of a group of aging black men sharing stories about their lives in rural and segregated Louisiana, published in 1983, was made into a movie in 1987.\u003c/p>\n\u003cp>Gaines won the National Book Critics Circle Award in 1993 for his novel\u003cem> A Lesson Before Dying\u003c/em>, a story about a young Southern black man waiting to be executed for a crime he did not commit. It later became a best-seller.\u003c/p>\n\u003cp>Gaines \u003ca href=\"https://www.washingtonpost.com/local/obituaries/ernest-j-gaines-author-of-autobiography-of-miss-jane-pittman-dies-at-86/2019/11/05/2b89840c-000b-11ea-8bab-0fc209e065a8_story.html\">published eight novels\u003c/a> and many short stories.\u003c/p>\n\u003cp>Gaines was honored with \u003ca href=\"https://www.nytimes.com/2019/11/05/books/ernest-gaines-dead.html\">numerous other awards\u003c/a> including a Guggenheim Fellowship and grants from the National Endowment for the Arts. He was named a MacArthur Fellow — the coveted “genius grant”– in 1993. President Bill Clinton \u003ca href=\"https://www.neh.gov/about/awards/national-humanities-medals/ernest-j-gaines\">awarded \u003c/a>Gaines the National Humanities Medal in 2000. In 2013, President Barack Obama \u003ca href=\"https://www.achievement.org/achiever/ernest-j-gaines/\">awarded \u003c/a>him the National Medal of Arts.\u003c/p>\n\u003cp>With the earnings from his books and television movies, Gaines built a home on plantation land he had worked as a child and near a cemetery where his family members were buried.\u003c/p>\n\u003cp>In an interview with Fourth Quarter 2007, published by the \u003ca href=\"https://www.braf.org/stories/2019/11/5/an-interview-with-the-late-ernest-j-gaines-from-2007\">Baton Rouge Area Foundation\u003c/a>, Gaines talked about his home in False River, La. — the nexus between the past and the present, and between the land and his ancestors whose lives and labor inspired his work.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“If Auntie [Augusteen Jefferson] could sit here with me, or my stepfather who took me away from here, or my Uncle George, who used to take me to those old beat-up bars in Baton Rouge—if I could, I’d just buy him a good glass of Gentleman Jack, and we could sit here and talk. Oh, I wish I could do that.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Novelist+Ernest+J.+Gaines+Dies+At+Age+86&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s telling that during my visit to Isaac Avila and Lauren D’Amato’s Bernal Heights live/work space, they don’t stop painting for the entire hour we talk.\u003c/p>\n\u003cp>[pullquote align='right' size='small']By the numbers…\u003c/p>\n\u003cul>\n\u003cli>Rent: $2,000/month\u003c/li>\n\u003cli>Studio rent: none (live/work space)\u003c/li>\n\u003cli>Total income: $2,000–$5,000/month\u003c/li>\n\u003c/ul>\n\u003cp>[/pullquote]\u003c/p>\n\u003cp>The couple began working together under the moniker \u003ca href=\"https://www.avilarosesigns.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Avila Rose Signs\u003c/a> a year and a half ago, setting themselves up as sign painters to do the kind of work they clearly love while also carving out time for their own art practices. \u003c/p>\n\u003cp>“Lauren wanted to get out of the sign shop, and I wanted to do more freelance work,” Avila says. That sign shop was New Bohemia Signs, where D’Amato apprenticed while getting her degree in painting at the San Francisco Art Institute, and where she worked full-time for three-and-a-half years. (Her family also paints signs, and once had shops in Los Angeles and New Jersey: “They got me started drawing young.”)\u003c/p>\n\u003cp>Born in Mexico City and a graduate of UC Berkeley’s MFA program, Avila has shown paintings and sculptures in a number of local project spaces and galleries—including a recent \u003ca href=\"http://rightwindow.blogspot.com/2019/09/bootleg-milagros-isaac-vazquez-avila.html\" rel=\"noopener noreferrer\" target=\"_blank\">two-person show\u003c/a> with D’Amato at San Francisco’s Right Window Gallery—but his personal work is mostly small-scale. He wanted to make murals, but couldn’t find the right collaborator. \u003c/p>\n\u003cp>Enter D’Amato, raised in the lowrider hub of Whittier, who was ready to hang out her own shingle. Or, as it turned out, \u003ci>their\u003c/i> shingle. “It was always my personal plan to be doing this, and when Isaac and I met and started dating, we realized there was a lot we could work on together,” D’Amato says.\u003c/p>\n\u003cp>As for picking up those formal sign painting skills, Avila says, “I’m still apprenticing, and will forever.” \u003c/p>\n\u003cp>Now they live, work and make art side-by-side in this space—a relative steal in San Francisco, with monthly rent set at $2,000. And though work by Avila Rose Signs adorns the Oakland Coliseum and countless motor vehicles currently roaming the West Coast, they’re still learning how to best advocate for their work—and deal with the financial roller coaster of running your own business. \u003c/p>\n\u003cfigure id=\"attachment_13869340\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/KQED_The_Hustle_Avila_Rose_Signs_hires_16-800x534.jpg\" alt=\"Lauren D'Amato in the Bernal Heights live/work space she shares with Isaac Avila.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13869340\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/KQED_The_Hustle_Avila_Rose_Signs_hires_16-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/KQED_The_Hustle_Avila_Rose_Signs_hires_16-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/KQED_The_Hustle_Avila_Rose_Signs_hires_16-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/KQED_The_Hustle_Avila_Rose_Signs_hires_16-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/KQED_The_Hustle_Avila_Rose_Signs_hires_16-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/KQED_The_Hustle_Avila_Rose_Signs_hires_16-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lauren D’Amato in the Bernal Heights live/work space she shares with Isaac Avila. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘We’re painting signs on a building, but we know how to use the computer!’\u003c/h2>\n\u003cp>D’Amato rattles off a list of jobs Avila Rose Signs does: exterior signage, super graphics, gold leaf, glass work, design. “We sign paint, but we’re also more than sign painters, because there’s a lot that goes into sign painting beyond just painting a sign,” Avila explains.\u003c/p>\n\u003cp>Some clients don’t seem to understand that—which might have something to do with preconceived notions about the so-called “low” art of sign painting and the “high” art of graphic design work. “We’re painting signs on a building, but we know how to use the computer!” D’Amato says.\u003c/p>\n\u003cp>They find themselves routinely needing to make clear the true value of their labor. “Are you going to reuse this sign and is it going to become your logo? Are we choosing all the colors and aesthetics that go along with your business to the point where we’re essentially doing branding but not getting paid for that?” D’Amato asks. “We’re still trying to make sure we’re getting compensated fairly. Especially because people doing that kind of work in the city are getting paid so much more money than we’re getting paid to do a lot of the same work.”\u003c/p>\n\u003cp>Every job is different. Depending on the customer, the job size and their level of involvement in designing a piece, their rates vary. Each charges $80–$100 an hour (double that if they’re both working on the job), and if they’re painting a large-scale wall piece, their rates are $25–$45 per square foot. They have special sliding scales for low-income clients and neighborhood businesses.\u003c/p>\n\u003cp>In 2018, they painted an enormous Oakland tree logo on the exterior of the Coliseum’s newly renovated Treehouse, along with more trees inside and a giant circular sign that now hangs near a pool table. In total, they charged around $17,000 for the project, factoring in expenses like driving to and from the Coliseum, hiring a boom lift ($150–$200 per day) and splitting a third of the proceeds with a fellow sign painter. They each took home between $3,000 and $4,000, after a few weeks of preparation and four solid days of painting.\u003c/p>\n\u003cfigure id=\"attachment_13869337\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/KQED_The_Hustle_Avila_Rose_Signs_hires_22-800x533.jpg\" alt=\"Isaac Avila and Lauren D'Amato with their dog Rico.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13869337\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/KQED_The_Hustle_Avila_Rose_Signs_hires_22-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/KQED_The_Hustle_Avila_Rose_Signs_hires_22-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/KQED_The_Hustle_Avila_Rose_Signs_hires_22-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/KQED_The_Hustle_Avila_Rose_Signs_hires_22-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/KQED_The_Hustle_Avila_Rose_Signs_hires_22-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/KQED_The_Hustle_Avila_Rose_Signs_hires_22-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Isaac Avila and Lauren D’Amato with their dog Rico. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘We’re incredibly lucky’\u003c/h2>\n\u003cp>Like many working artists, Avila and D’Amato have a monthly income that varies widely. Avila still works two days a week bartending at the Valencia bar Mosto, and D’Amato does custom work on 45-RPM record cases, cars and motorcycles to earn a bit of side money. Every now and then D’Amato will sell artwork or embellished furniture out of the studio. Depending on how many Avila Rose jobs they line up, they make a total combined income from all jobs of between $2,000 and $5,000 a month. \u003c/p>\n\u003cp>In San Francisco, that isn’t much. They’re able to live off that income thanks to not only their relatively low rent, but their shared penchant for frugality.\u003c/p>\n\u003cp>“We’re incredibly lucky,” D’Amato says, looking around the corner of the built-out warehouse she shares with Avila. One wall faces the street, letting in light from nearly floor-to-ceiling windows. The other surfaces are covered in hand-painted signs, mementos and beautiful found objects. They sleep in a lofted area over the kitchen, and their dog Rico doesn’t take up much space.\u003c/p>\n\u003cp>“The group that owns this building—they’re older, at later stages in their careers,” Avila says. “And they’re all pretty aware of the hardships of just being an artist and what it takes, especially if you’re trying to build something from scratch.” \u003c/p>\n\u003cp>Though the fact that they’re month-to-month does bring some anxiety, D’Amato and Avila know there’s no way they could be doing what they do—getting their own business off the ground—without the support of their landlords. Paying rent on both an apartment and a separate studio, let alone one with a woodshop that would let them use enamel paints and solvents, would be prohibitively expensive. \u003c/p>\n\u003cp>They keep their other spending low; D’Aamato doesn’t have health insurance, and she’s slowly chipping away at her art school loans. (She transferred into SFAI, so she’s in a slightly better situation than classmates with four years of loans.) As for materials, Avila’s sculptures are made from woodshop scraps, and they both pick up old glass, furniture and frames off the streets. The materials of their sign painting trade are expensive enough—a book of gold leaf is $45–$50, pints of enamel paint run $30–$50.\u003c/p>\n\u003cp>“I’ll be using the same brush for like half a year, and then I’ll say, ‘I think it’s time for me to make an investment in this because it’s the thing that’s making me money,’” D’Amato says. “And then I’ll buy a few more brushes.” \u003c/p>\n\u003cp>How much are brushes? “Oh, probably about $20,” she laughs. “That’s how careful we are.”\u003c/p>\n\u003cfigure id=\"attachment_13869335\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/KQED_The_Hustle_Avila_Rose_Signs_hires_23-800x533.jpg\" alt=\"In addition to sign painting and their own art, Isaac Avila and Lauren D'Amato host Kustom Sunday, a car culture meetup in San Francisco.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13869335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/KQED_The_Hustle_Avila_Rose_Signs_hires_23-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/KQED_The_Hustle_Avila_Rose_Signs_hires_23-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/KQED_The_Hustle_Avila_Rose_Signs_hires_23-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/KQED_The_Hustle_Avila_Rose_Signs_hires_23-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/KQED_The_Hustle_Avila_Rose_Signs_hires_23-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/KQED_The_Hustle_Avila_Rose_Signs_hires_23-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In addition to sign painting and their own art, Isaac Avila and Lauren D’Amato host Kustom Sunday, a car culture meetup in San Francisco. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘I value all the work that we do’\u003c/h2>\n\u003cp>Last year, Avila and D’Amato also started hosting an event series called Kustom Sunday, first at the warehouse and now at off-site locations like Golden Gate Park. For D’Amato, it’s a way to establish herself as someone who does lettering, gilding and pin-striping on cars. “That’s such a hard thing to get into, especially as a young woman,” she says. She’s perfected her own style of blended floral work most often seen on traditional furniture, and never seen in enamel paint. \u003c/p>\n\u003cp>At Kustom Sundays, the couple invites DJs to play, a barbeque is lit and people line up for their custom paint jobs. Similarly, if D’Amato goes to a bar and sets up shop for a night, she can make between $700 and $1,000 painting motorcycle helmets, tanks and record boxes.\u003c/p>\n\u003cp>[aside label='Side Gigs and Successes' link1='https://www.kqed.org/arts/13861452/talk-to-us-bay-area-artists-whats-your-hustle,Are you a Bay Area artist? Tell us about your hustle.' target=_blank]\u003cbr>\nAvila says it currently feels like they can’t say no to anything that pays. But D’Amato points out how important it’s been to volunteer their labor to causes and communities they believe in. In the immediate, that means considering a trip up to the \u003ca href=\"http://www.bbcrc.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Black Butte Center for Railroad Culture\u003c/a>, where a community of sign painters periodically convenes to help restore historic railcars.\u003c/p>\n\u003cp>The question of why they stay in San Francisco is an easy one. For Avila, who’s been here since 2003, it’s the closest thing he has to a home. Growing up in Southern California, D’Amato spent plenty of time visiting her grandparents in the East Bay; when she finished up at SFAI, she knew she wasn’t done with the city. Despite the changes in the city’s demographics and the cost of living, they’re deeply tied to both their immediate neighborhood and the Bay Area’s artistic communities. \u003c/p>\n\u003cp>Merging their fine art backgrounds with the more rigid standards of sign painting, D’Amato and Avila enjoy being less traditional in their approach to Avila Rose Signs. \u003c/p>\n\u003cp>Or, as D’Amato puts it: “I just value all the work that we do.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "From their Bernal Heights home, Isaac Avila and Lauren D’Amato navigate the finances of painting, sign-making and custom side jobs.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s telling that during my visit to Isaac Avila and Lauren D’Amato’s Bernal Heights live/work space, they don’t stop painting for the entire hour we talk.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "By the numbers…\u003c/p>\n\u003cul>\n\u003cli>Rent: $2,000/month\u003c/li>\n\u003cli>Studio rent: none (live/work space)\u003c/li>\n\u003cli>Total income: $2,000–$5,000/month\u003c/li>\n\u003c/ul>\n\u003cp>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The couple began working together under the moniker \u003ca href=\"https://www.avilarosesigns.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Avila Rose Signs\u003c/a> a year and a half ago, setting themselves up as sign painters to do the kind of work they clearly love while also carving out time for their own art practices. \u003c/p>\n\u003cp>“Lauren wanted to get out of the sign shop, and I wanted to do more freelance work,” Avila says. That sign shop was New Bohemia Signs, where D’Amato apprenticed while getting her degree in painting at the San Francisco Art Institute, and where she worked full-time for three-and-a-half years. (Her family also paints signs, and once had shops in Los Angeles and New Jersey: “They got me started drawing young.”)\u003c/p>\n\u003cp>Born in Mexico City and a graduate of UC Berkeley’s MFA program, Avila has shown paintings and sculptures in a number of local project spaces and galleries—including a recent \u003ca href=\"http://rightwindow.blogspot.com/2019/09/bootleg-milagros-isaac-vazquez-avila.html\" rel=\"noopener noreferrer\" target=\"_blank\">two-person show\u003c/a> with D’Amato at San Francisco’s Right Window Gallery—but his personal work is mostly small-scale. He wanted to make murals, but couldn’t find the right collaborator. \u003c/p>\n\u003cp>Enter D’Amato, raised in the lowrider hub of Whittier, who was ready to hang out her own shingle. Or, as it turned out, \u003ci>their\u003c/i> shingle. “It was always my personal plan to be doing this, and when Isaac and I met and started dating, we realized there was a lot we could work on together,” D’Amato says.\u003c/p>\n\u003cp>As for picking up those formal sign painting skills, Avila says, “I’m still apprenticing, and will forever.” \u003c/p>\n\u003cp>Now they live, work and make art side-by-side in this space—a relative steal in San Francisco, with monthly rent set at $2,000. And though work by Avila Rose Signs adorns the Oakland Coliseum and countless motor vehicles currently roaming the West Coast, they’re still learning how to best advocate for their work—and deal with the financial roller coaster of running your own business. \u003c/p>\n\u003cfigure id=\"attachment_13869340\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/KQED_The_Hustle_Avila_Rose_Signs_hires_16-800x534.jpg\" alt=\"Lauren D'Amato in the Bernal Heights live/work space she shares with Isaac Avila.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13869340\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/KQED_The_Hustle_Avila_Rose_Signs_hires_16-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/KQED_The_Hustle_Avila_Rose_Signs_hires_16-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/KQED_The_Hustle_Avila_Rose_Signs_hires_16-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/KQED_The_Hustle_Avila_Rose_Signs_hires_16-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/KQED_The_Hustle_Avila_Rose_Signs_hires_16-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/KQED_The_Hustle_Avila_Rose_Signs_hires_16-1920x1281.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lauren D’Amato in the Bernal Heights live/work space she shares with Isaac Avila. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘We’re painting signs on a building, but we know how to use the computer!’\u003c/h2>\n\u003cp>D’Amato rattles off a list of jobs Avila Rose Signs does: exterior signage, super graphics, gold leaf, glass work, design. “We sign paint, but we’re also more than sign painters, because there’s a lot that goes into sign painting beyond just painting a sign,” Avila explains.\u003c/p>\n\u003cp>Some clients don’t seem to understand that—which might have something to do with preconceived notions about the so-called “low” art of sign painting and the “high” art of graphic design work. “We’re painting signs on a building, but we know how to use the computer!” D’Amato says.\u003c/p>\n\u003cp>They find themselves routinely needing to make clear the true value of their labor. “Are you going to reuse this sign and is it going to become your logo? Are we choosing all the colors and aesthetics that go along with your business to the point where we’re essentially doing branding but not getting paid for that?” D’Amato asks. “We’re still trying to make sure we’re getting compensated fairly. Especially because people doing that kind of work in the city are getting paid so much more money than we’re getting paid to do a lot of the same work.”\u003c/p>\n\u003cp>Every job is different. Depending on the customer, the job size and their level of involvement in designing a piece, their rates vary. Each charges $80–$100 an hour (double that if they’re both working on the job), and if they’re painting a large-scale wall piece, their rates are $25–$45 per square foot. They have special sliding scales for low-income clients and neighborhood businesses.\u003c/p>\n\u003cp>In 2018, they painted an enormous Oakland tree logo on the exterior of the Coliseum’s newly renovated Treehouse, along with more trees inside and a giant circular sign that now hangs near a pool table. In total, they charged around $17,000 for the project, factoring in expenses like driving to and from the Coliseum, hiring a boom lift ($150–$200 per day) and splitting a third of the proceeds with a fellow sign painter. They each took home between $3,000 and $4,000, after a few weeks of preparation and four solid days of painting.\u003c/p>\n\u003cfigure id=\"attachment_13869337\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/KQED_The_Hustle_Avila_Rose_Signs_hires_22-800x533.jpg\" alt=\"Isaac Avila and Lauren D'Amato with their dog Rico.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13869337\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/KQED_The_Hustle_Avila_Rose_Signs_hires_22-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/KQED_The_Hustle_Avila_Rose_Signs_hires_22-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/KQED_The_Hustle_Avila_Rose_Signs_hires_22-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/KQED_The_Hustle_Avila_Rose_Signs_hires_22-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/KQED_The_Hustle_Avila_Rose_Signs_hires_22-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/KQED_The_Hustle_Avila_Rose_Signs_hires_22-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Isaac Avila and Lauren D’Amato with their dog Rico. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘We’re incredibly lucky’\u003c/h2>\n\u003cp>Like many working artists, Avila and D’Amato have a monthly income that varies widely. Avila still works two days a week bartending at the Valencia bar Mosto, and D’Amato does custom work on 45-RPM record cases, cars and motorcycles to earn a bit of side money. Every now and then D’Amato will sell artwork or embellished furniture out of the studio. Depending on how many Avila Rose jobs they line up, they make a total combined income from all jobs of between $2,000 and $5,000 a month. \u003c/p>\n\u003cp>In San Francisco, that isn’t much. They’re able to live off that income thanks to not only their relatively low rent, but their shared penchant for frugality.\u003c/p>\n\u003cp>“We’re incredibly lucky,” D’Amato says, looking around the corner of the built-out warehouse she shares with Avila. One wall faces the street, letting in light from nearly floor-to-ceiling windows. The other surfaces are covered in hand-painted signs, mementos and beautiful found objects. They sleep in a lofted area over the kitchen, and their dog Rico doesn’t take up much space.\u003c/p>\n\u003cp>“The group that owns this building—they’re older, at later stages in their careers,” Avila says. “And they’re all pretty aware of the hardships of just being an artist and what it takes, especially if you’re trying to build something from scratch.” \u003c/p>\n\u003cp>Though the fact that they’re month-to-month does bring some anxiety, D’Amato and Avila know there’s no way they could be doing what they do—getting their own business off the ground—without the support of their landlords. Paying rent on both an apartment and a separate studio, let alone one with a woodshop that would let them use enamel paints and solvents, would be prohibitively expensive. \u003c/p>\n\u003cp>They keep their other spending low; D’Aamato doesn’t have health insurance, and she’s slowly chipping away at her art school loans. (She transferred into SFAI, so she’s in a slightly better situation than classmates with four years of loans.) As for materials, Avila’s sculptures are made from woodshop scraps, and they both pick up old glass, furniture and frames off the streets. The materials of their sign painting trade are expensive enough—a book of gold leaf is $45–$50, pints of enamel paint run $30–$50.\u003c/p>\n\u003cp>“I’ll be using the same brush for like half a year, and then I’ll say, ‘I think it’s time for me to make an investment in this because it’s the thing that’s making me money,’” D’Amato says. “And then I’ll buy a few more brushes.” \u003c/p>\n\u003cp>How much are brushes? “Oh, probably about $20,” she laughs. “That’s how careful we are.”\u003c/p>\n\u003cfigure id=\"attachment_13869335\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/KQED_The_Hustle_Avila_Rose_Signs_hires_23-800x533.jpg\" alt=\"In addition to sign painting and their own art, Isaac Avila and Lauren D'Amato host Kustom Sunday, a car culture meetup in San Francisco.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13869335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/KQED_The_Hustle_Avila_Rose_Signs_hires_23-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/KQED_The_Hustle_Avila_Rose_Signs_hires_23-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/KQED_The_Hustle_Avila_Rose_Signs_hires_23-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/KQED_The_Hustle_Avila_Rose_Signs_hires_23-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/KQED_The_Hustle_Avila_Rose_Signs_hires_23-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/KQED_The_Hustle_Avila_Rose_Signs_hires_23-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In addition to sign painting and their own art, Isaac Avila and Lauren D’Amato host Kustom Sunday, a car culture meetup in San Francisco. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘I value all the work that we do’\u003c/h2>\n\u003cp>Last year, Avila and D’Amato also started hosting an event series called Kustom Sunday, first at the warehouse and now at off-site locations like Golden Gate Park. For D’Amato, it’s a way to establish herself as someone who does lettering, gilding and pin-striping on cars. “That’s such a hard thing to get into, especially as a young woman,” she says. She’s perfected her own style of blended floral work most often seen on traditional furniture, and never seen in enamel paint. \u003c/p>\n\u003cp>At Kustom Sundays, the couple invites DJs to play, a barbeque is lit and people line up for their custom paint jobs. Similarly, if D’Amato goes to a bar and sets up shop for a night, she can make between $700 and $1,000 painting motorcycle helmets, tanks and record boxes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cbr>\nAvila says it currently feels like they can’t say no to anything that pays. But D’Amato points out how important it’s been to volunteer their labor to causes and communities they believe in. In the immediate, that means considering a trip up to the \u003ca href=\"http://www.bbcrc.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Black Butte Center for Railroad Culture\u003c/a>, where a community of sign painters periodically convenes to help restore historic railcars.\u003c/p>\n\u003cp>The question of why they stay in San Francisco is an easy one. For Avila, who’s been here since 2003, it’s the closest thing he has to a home. Growing up in Southern California, D’Amato spent plenty of time visiting her grandparents in the East Bay; when she finished up at SFAI, she knew she wasn’t done with the city. Despite the changes in the city’s demographics and the cost of living, they’re deeply tied to both their immediate neighborhood and the Bay Area’s artistic communities. \u003c/p>\n\u003cp>Merging their fine art backgrounds with the more rigid standards of sign painting, D’Amato and Avila enjoy being less traditional in their approach to Avila Rose Signs. \u003c/p>\n\u003cp>Or, as D’Amato puts it: “I just value all the work that we do.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Homelessness Crisis Impossible to Ignore for Bay Area Musicians",
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"content": "\u003cp>With pothole-filled roads snaking around tent encampments and new, luxury apartment buildings, the blocks surrounding \u003ca href=\"https://fantasticnegrito.com/\" target=\"_blank\" rel=\"noopener\">Fantastic Negrito\u003c/a>‘s West Oakland music studio are a microcosm of a growing wealth inequality problem in the Bay Area and nationwide.\u003c/p>\n\u003cp>“You can see the people that have nothing and are living in the ground and sleeping outside, using the bathroom on the ground, and living the way a human being should not live in a country that calls itself the greatest in the world,” says the Grammy-winning singer-songwriter. “And then you can also see the new bars and hip coffee shops, and you can see all the tech people that are here.” [aside postid='arts_13828811']\u003c/p>\n\u003cp>This fractured landscape inspired Fantastic Negrito’s song “Working Poor,” an amped-up blues-rock meditation on Oakland’s class divide, with lyrics that invoke real-life headlines of newcomers \u003ca href=\"https://www.sfgate.com/bayarea/article/Oakland-threatens-to-fine-a-church-for-loud-music-6573360.php\" target=\"_blank\" rel=\"noopener\">calling the cops on black churches\u003c/a> for singing too loudly, and the\u003ca href=\"https://abc7news.com/society/survey-44-percent-of-bay-area-residents-are-considering-moving/5216758/\" target=\"_blank\" rel=\"noopener\"> exodus of longtime Oakland residents\u003c/a> to Stockton and other more affordable parts of the state.\u003c/p>\n\u003cp>Originally released on Fantastic Negrito’s album \u003cem>The Last Days of Oakland\u003c/em>, “Working Poor” is featured on a new compilation from Bay Area producer Scott Mickelson called \u003cem>Blanket the Homeless\u003c/em>, due out on Nov. 8. The album and its \u003ca href=\"https://www.theindependentsf.com/event/9941025/-blanket-the-homeless-record-release-benefit-concert/\" target=\"_blank\" rel=\"noopener\">release show at the Independent on Nov. 7\u003c/a> raise money for an eponymous organization that gives out survival supplies to unsheltered people in the Bay Area.\u003c/p>\n\u003cp>Entrepreneur \u003ca href=\"https://www.kennewmanmusic.com/\" target=\"_blank\" rel=\"noopener\">Ken Newman\u003c/a> founded \u003ca href=\"http://blanketthehomeless.org/\" target=\"_blank\" rel=\"noopener\">Blanket the Homeless\u003c/a> after getting back into performing live music after years of running a successful events company. Newman didn’t need the money he was earning from gigs, so he used it to make care packages for unhoused people that include hygiene products, blankets, socks, energy bars, phone numbers for resources and other supplies.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At his shows, Newman began handing out care packages to his audiences and asking them to pass them along to the unsheltered people they saw on their way home. As Blanket the Homeless gained traction over the last four years, he’s given out over 4,000 care packages to those in need through a partnership with the St. Vincent de Paul Society and help from countless volunteers. Meanwhile, in the years since Newman founded the organization, the United Nations decried the Bay Area’s homelessness crisis as a \u003ca href=\"https://www.kqed.org/news/11700750/after-scathing-un-report-on-homelessness-advocates-demand-oakland-stop-sidewalk-sweeps\" target=\"_blank\" rel=\"noopener\">human rights violation\u003c/a>. \u003ca href=\"https://sf.curbed.com/2019/7/22/20704224/bay-area-point-in-time-homless-count-2019\" target=\"_blank\" rel=\"noopener\">Homeless populations\u003c/a> grew in all nine Bay Area counties, and in Alameda County, the number of people living on the street nearly doubled from what it was in 2015.\u003c/p>\n\u003cp>“The notion of blanketing the homeless and giving out these packages is, ‘I can’t fix the problem on a large scale, but I can give you something that will make your life more comfortable just for tonight,'” Newman says.\u003c/p>\n\u003cfigure id=\"attachment_13828846\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-1-800x600.jpg\" alt=\"A temporary shelter near a creek at a homeless encampment in East Oakland.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-1-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-1-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-1-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A temporary shelter near a creek at a homeless encampment in East Oakland. \u003ccite>(Pendarvis Harshaw )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Newman came to producer \u003ca href=\"http://www.mickelsonmusic.com/\" target=\"_blank\" rel=\"noopener\">Scott Mickelson\u003c/a>‘s studio to work on his album, the two of them decided to team up to record a benefit compilation to raise money and awareness for Newman’s charity. They recruited bands like indie rockers \u003ca href=\"https://www.thestonefoxes.com/\" target=\"_blank\" rel=\"noopener\">The Stone Foxes\u003c/a>, folk and bluegrass groups \u003ca href=\"http://www.thebrotherscomatose.com/\" target=\"_blank\" rel=\"noopener\">The Brothers Comatose\u003c/a> and \u003ca href=\"https://www.rainbowgirlsmusic.com/\" target=\"_blank\" rel=\"noopener\">Rainbow Girls\u003c/a>, and Seattle singer-songwriter \u003ca href=\"https://www.tobiastheowl.com/\" target=\"_blank\" rel=\"noopener\">Tobias the Owl\u003c/a> to contribute tracks. (Fantastic Negrito’s “Working Poor” is the only song on the project that was previously released on another album.)\u003c/p>\n\u003cp>“I think everyone is aware, if you live in the Bay Area, that there’s more and more money coming in, and more and more homeless people on the streets,” Mickelson says. “It’s really hard to make money in music and even to afford to live in San Francisco anymore. I think [that’s why] everybody was on board.”\u003c/p>\n\u003cp>https://youtu.be/W66D31klLCk\u003c/p>\n\u003cp>The project was highly personal for Tobias the Owl, who spent his teenage years on the streets. His track, “Out of Place,” is about the ways being homeless can make one feel alienated, looked down upon and invisible. “Sometimes we can depersonalize the homeless, or de-realize them, or dramatize them, and I think all of those different techniques of looking at the homeless population tend to contribute to their dehumanization in different ways,” he says. “It’s about that kind of phenomenon and what it feels like to be on the other side of alienation from everyone else.”\u003c/p>\n\u003cp>Now a successful radiologist and a professor at the University of Washington in addition to his music career, Tobias the Owl doesn’t often talk about the trauma he experienced when he didn’t have housing. He says writing and recording “Out of Place” was an empowering experience that helped him process painful emotions he had shut away in order to cope. “A lot of bad stuff happened to me in that period,” he says. “I realized to some degree, I had compartmentalized part of my experience. … Being a part of this compilation made me realize there were parts of my experiences that I hadn’t yet dealt with.”\u003c/p>\n\u003cp>\u003cem>Blanket the Homeless \u003c/em>is just one of the latest examples of the Bay Area music scene organizing around the homelessness crisis. Last month, a Janelle Monae and Roots concert at Oakland’s Fox Theater raised a million dollars for the foundation \u003ca href=\"https://tippingpoint.org/\" target=\"_blank\" rel=\"noopener\">Tipping Point\u003c/a>, which directed the funds to organizations like the \u003ca href=\"http://www.homelessprenatal.org/\" target=\"_blank\" rel=\"noopener\">Homeless Prenatal Program\u003c/a> and \u003ca href=\"https://www.compass-sf.org/\" target=\"_blank\" rel=\"noopener\">Compass Family Services\u003c/a>, among others.\u003c/p>\n\u003cp>Recently, Grammy-winning producer Ian Brennan, who is from the East Bay and currently resides in Italy, recently released an album called \u003cem>Homeless Oakland Heart\u003c/em>, which he recorded outdoors while wandering the streets of West Oakland with a microphone. He captured unsheltered people singing, rapping, reciting spoken-word poetry and playing instruments—including a broken, nylon-string guitar one man had in his tent. Brennan paid them stipends for their contributions, and proceeds from the album go to \u003ca href=\"https://www.cohsf.org/\" target=\"_blank\" rel=\"noopener\">Coalition on Homelessness\u003c/a>, a San Francisco organization that advocates for homeless people’s rights and publishes the \u003cem>Street Sheet\u003c/em> newspaper.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3795850470/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Taking cue from its subject matter, the music on \u003cem>Homeless Oakland Heart \u003c/em>feels fraught, with Brennan’s distorted edits adding a disorienting, paranoid layer to the confessions of unnamed houseless people. (Because many of the people Brennan recorded exhibited symptoms of mental illnesses, he decided not to list them on the album by name.) Some lament the loss of family members, others express their fears of going back to prison. In one particularly poignant track, one man reflects on how passersby think homeless people want drugs when they actually just want food.\u003c/p>\n\u003cp>“There’s the idea of wanting to be heard as individuals, and the fear, really,” says Brennan of the recordings he captured. “They’re in jeopardy, they’re on the street, they’re not being listened to.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The homelessness crisis is vast and complex, compounded by a lack of mental health resources, criminalization of poverty and shortage of low-income housing. And with \u003cem>Homeless Oakland Heart\u003c/em> and \u003cem>Blanket the Homeless\u003c/em>, it’s clear that many in the local music community aren’t content to sit by as it progresses any longer.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This fractured landscape inspired Fantastic Negrito’s song “Working Poor,” an amped-up blues-rock meditation on Oakland’s class divide, with lyrics that invoke real-life headlines of newcomers \u003ca href=\"https://www.sfgate.com/bayarea/article/Oakland-threatens-to-fine-a-church-for-loud-music-6573360.php\" target=\"_blank\" rel=\"noopener\">calling the cops on black churches\u003c/a> for singing too loudly, and the\u003ca href=\"https://abc7news.com/society/survey-44-percent-of-bay-area-residents-are-considering-moving/5216758/\" target=\"_blank\" rel=\"noopener\"> exodus of longtime Oakland residents\u003c/a> to Stockton and other more affordable parts of the state.\u003c/p>\n\u003cp>Originally released on Fantastic Negrito’s album \u003cem>The Last Days of Oakland\u003c/em>, “Working Poor” is featured on a new compilation from Bay Area producer Scott Mickelson called \u003cem>Blanket the Homeless\u003c/em>, due out on Nov. 8. The album and its \u003ca href=\"https://www.theindependentsf.com/event/9941025/-blanket-the-homeless-record-release-benefit-concert/\" target=\"_blank\" rel=\"noopener\">release show at the Independent on Nov. 7\u003c/a> raise money for an eponymous organization that gives out survival supplies to unsheltered people in the Bay Area.\u003c/p>\n\u003cp>Entrepreneur \u003ca href=\"https://www.kennewmanmusic.com/\" target=\"_blank\" rel=\"noopener\">Ken Newman\u003c/a> founded \u003ca href=\"http://blanketthehomeless.org/\" target=\"_blank\" rel=\"noopener\">Blanket the Homeless\u003c/a> after getting back into performing live music after years of running a successful events company. Newman didn’t need the money he was earning from gigs, so he used it to make care packages for unhoused people that include hygiene products, blankets, socks, energy bars, phone numbers for resources and other supplies.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At his shows, Newman began handing out care packages to his audiences and asking them to pass them along to the unsheltered people they saw on their way home. As Blanket the Homeless gained traction over the last four years, he’s given out over 4,000 care packages to those in need through a partnership with the St. Vincent de Paul Society and help from countless volunteers. Meanwhile, in the years since Newman founded the organization, the United Nations decried the Bay Area’s homelessness crisis as a \u003ca href=\"https://www.kqed.org/news/11700750/after-scathing-un-report-on-homelessness-advocates-demand-oakland-stop-sidewalk-sweeps\" target=\"_blank\" rel=\"noopener\">human rights violation\u003c/a>. \u003ca href=\"https://sf.curbed.com/2019/7/22/20704224/bay-area-point-in-time-homless-count-2019\" target=\"_blank\" rel=\"noopener\">Homeless populations\u003c/a> grew in all nine Bay Area counties, and in Alameda County, the number of people living on the street nearly doubled from what it was in 2015.\u003c/p>\n\u003cp>“The notion of blanketing the homeless and giving out these packages is, ‘I can’t fix the problem on a large scale, but I can give you something that will make your life more comfortable just for tonight,'” Newman says.\u003c/p>\n\u003cfigure id=\"attachment_13828846\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-1-800x600.jpg\" alt=\"A temporary shelter near a creek at a homeless encampment in East Oakland.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-1-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-1-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-1-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A temporary shelter near a creek at a homeless encampment in East Oakland. \u003ccite>(Pendarvis Harshaw )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Newman came to producer \u003ca href=\"http://www.mickelsonmusic.com/\" target=\"_blank\" rel=\"noopener\">Scott Mickelson\u003c/a>‘s studio to work on his album, the two of them decided to team up to record a benefit compilation to raise money and awareness for Newman’s charity. They recruited bands like indie rockers \u003ca href=\"https://www.thestonefoxes.com/\" target=\"_blank\" rel=\"noopener\">The Stone Foxes\u003c/a>, folk and bluegrass groups \u003ca href=\"http://www.thebrotherscomatose.com/\" target=\"_blank\" rel=\"noopener\">The Brothers Comatose\u003c/a> and \u003ca href=\"https://www.rainbowgirlsmusic.com/\" target=\"_blank\" rel=\"noopener\">Rainbow Girls\u003c/a>, and Seattle singer-songwriter \u003ca href=\"https://www.tobiastheowl.com/\" target=\"_blank\" rel=\"noopener\">Tobias the Owl\u003c/a> to contribute tracks. (Fantastic Negrito’s “Working Poor” is the only song on the project that was previously released on another album.)\u003c/p>\n\u003cp>“I think everyone is aware, if you live in the Bay Area, that there’s more and more money coming in, and more and more homeless people on the streets,” Mickelson says. “It’s really hard to make money in music and even to afford to live in San Francisco anymore. I think [that’s why] everybody was on board.”\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/W66D31klLCk'\n title='//www.youtube.com/embed/W66D31klLCk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The project was highly personal for Tobias the Owl, who spent his teenage years on the streets. His track, “Out of Place,” is about the ways being homeless can make one feel alienated, looked down upon and invisible. “Sometimes we can depersonalize the homeless, or de-realize them, or dramatize them, and I think all of those different techniques of looking at the homeless population tend to contribute to their dehumanization in different ways,” he says. “It’s about that kind of phenomenon and what it feels like to be on the other side of alienation from everyone else.”\u003c/p>\n\u003cp>Now a successful radiologist and a professor at the University of Washington in addition to his music career, Tobias the Owl doesn’t often talk about the trauma he experienced when he didn’t have housing. He says writing and recording “Out of Place” was an empowering experience that helped him process painful emotions he had shut away in order to cope. “A lot of bad stuff happened to me in that period,” he says. “I realized to some degree, I had compartmentalized part of my experience. … Being a part of this compilation made me realize there were parts of my experiences that I hadn’t yet dealt with.”\u003c/p>\n\u003cp>\u003cem>Blanket the Homeless \u003c/em>is just one of the latest examples of the Bay Area music scene organizing around the homelessness crisis. Last month, a Janelle Monae and Roots concert at Oakland’s Fox Theater raised a million dollars for the foundation \u003ca href=\"https://tippingpoint.org/\" target=\"_blank\" rel=\"noopener\">Tipping Point\u003c/a>, which directed the funds to organizations like the \u003ca href=\"http://www.homelessprenatal.org/\" target=\"_blank\" rel=\"noopener\">Homeless Prenatal Program\u003c/a> and \u003ca href=\"https://www.compass-sf.org/\" target=\"_blank\" rel=\"noopener\">Compass Family Services\u003c/a>, among others.\u003c/p>\n\u003cp>Recently, Grammy-winning producer Ian Brennan, who is from the East Bay and currently resides in Italy, recently released an album called \u003cem>Homeless Oakland Heart\u003c/em>, which he recorded outdoors while wandering the streets of West Oakland with a microphone. He captured unsheltered people singing, rapping, reciting spoken-word poetry and playing instruments—including a broken, nylon-string guitar one man had in his tent. Brennan paid them stipends for their contributions, and proceeds from the album go to \u003ca href=\"https://www.cohsf.org/\" target=\"_blank\" rel=\"noopener\">Coalition on Homelessness\u003c/a>, a San Francisco organization that advocates for homeless people’s rights and publishes the \u003cem>Street Sheet\u003c/em> newspaper.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3795850470/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Taking cue from its subject matter, the music on \u003cem>Homeless Oakland Heart \u003c/em>feels fraught, with Brennan’s distorted edits adding a disorienting, paranoid layer to the confessions of unnamed houseless people. (Because many of the people Brennan recorded exhibited symptoms of mental illnesses, he decided not to list them on the album by name.) Some lament the loss of family members, others express their fears of going back to prison. In one particularly poignant track, one man reflects on how passersby think homeless people want drugs when they actually just want food.\u003c/p>\n\u003cp>“There’s the idea of wanting to be heard as individuals, and the fear, really,” says Brennan of the recordings he captured. “They’re in jeopardy, they’re on the street, they’re not being listened to.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The homelessness crisis is vast and complex, compounded by a lack of mental health resources, criminalization of poverty and shortage of low-income housing. And with \u003cem>Homeless Oakland Heart\u003c/em> and \u003cem>Blanket the Homeless\u003c/em>, it’s clear that many in the local music community aren’t content to sit by as it progresses any longer.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Look Back On Shirley Chisholm's Historic 1968 House Victory",
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"content": "\u003cp>\u003cem>Editor’s Note: This story \u003ca href=\"https://www.npr.org/2018/11/06/664617076/a-look-back-on-shirley-chisholm-s-historic-1968-house-victory\" target=\"_blank\" rel=\"noopener\">originally appeared\u003c/a> on November 6, 2018. \u003c/em>\u003c/p>\n\u003chr>\n\u003cp>Shirley Chisholm’s celebrated win on election night, Nov. 5, 1968, still resonates with today’s election cycle, 50 years later. She became the first black woman ever elected to the U.S. House of Representatives. Over the years, her victory is often cited as inspiration for women running for public office.\u003c/p>\n\u003cp>This election season has been nicknamed “The Year of the Woman” because a record number of women have run and won seats in national and statewide races.\u003c/p>\n\u003cp>\u003cstrong>Campaign gets little attention\u003c/strong>\u003c/p>\n\u003cp>In 1968, Chisholm defeated James Farmer for New York’s 14th Congressional District. She was a New York State assemblywoman, elected in 1964 after leaving behind a career in education, first as a nursery school teacher and later a consultant to New York City’s Division of Day Care. Farmer, a black man and civil rights leader, ran as a Republican.\u003c/p>\n\u003cp>The reapportioned 12th Congressional District was largely made up of Brooklyn’s Bedford-Stuyvesant community and a few other parts of the borough. Bed-Stuy’s residents were mostly African-American and Puerto Rican. It was also Chisholm’s home.\u003c/p>\n\u003cp>Chisholm labeled Farmer “an outsider” during the campaign, because he lived in Manhattan. Among her tactics, she spoke in Spanish to Spanish speakers, a language she had developed fluency in as a schoolteacher. She took her campaign to the streets, literally, riding on a truck with a loudspeaker. Making multiple stops, she regularly kicked off her remarks by saying, “This is Fighting Shirley Chisholm.”\u003c/p>\n\u003cp>The contest between two black candidates garnered little media attention outside Brooklyn. In Susan Brownmiller’s 1970 biography of Chisholm, she described the candidate as distraught over the lack of coverage. Chisholm was concerned that only \u003cem>The Amsterdam News,\u003c/em> a black newspaper, seemed interested in covering her near the end of the campaign.\u003c/p>\n\u003cp>But when the final votes were tallied, voters chose Chisholm by better than a 2-to-1 margin over Farmer.\u003c/p>\n\u003cp>Still, media attention remained scant about Chisholm’s surprising win. Richard Nixon’s narrow win over Vice President Hubert Humphrey dominated headlines and airwaves. Television, radio and newspapers mentioned Chisholm’s news in one line on air, or in only a paragraph in print.\u003c/p>\n\u003cp>Her victory remarks from the evening are hard to come by. But NPR recently found a recording held by the New York Public Library.\u003c/p>\n\u003cp>“My dear friends, tonight is a very important night,” she told her supporters, “not so much for me, but for you, the people of this community.\u003c/p>\n\u003cp>“After many years of struggle and sacrifices on the part of several of you here this evening, we have at long last been able to elect today a voice that shall be your voice in the halls of the United States Congress.”\u003c/p>\n\u003cp>Within a couple weeks of the election, a national black weekly, \u003cem>Jet\u003c/em> magazine, put Chisholm on the cover. It wasn’t until several months later, when she was a sworn-in member of Congress, that the country began to pay closer attention. In February 1969, \u003cem>Ebony\u003c/em> magazine did a cover story. Later still, she was filmed on the steps of the U.S. Capitol by an NBC News camera crew, answering questions from visiting Brooklyn students from her district.\u003c/p>\n\u003cp>In the NBC documentary \u003cem>The Irrepressible Shirley Chisholm,\u003c/em> a black teenager asks her, “How do you feel being the first black woman in the House of Representatives?”\u003c/p>\n\u003cp>“I have mixed feelings,” Chisholm begins, as she looks at the girl along with her classmates.\u003c/p>\n\u003cp>“First of all, I’m very glad to make history in this country being the first black woman, [but] I don’t get terribly excited about it.”\u003c/p>\n\u003cp>In 2003, some 20 years after Chisholm left Congress, Tavis Smiley asked her which had been a bigger obstacle during her career, being black or being a woman?\u003c/p>\n\u003cp>“I met far more discrimination being a woman than being black when I moved out into the political arena,” she said. “All kinds of meetings and all kinds of groups got together in order to stop me from moving out [into politics]. Because I was very outspoken and very articulate and didn’t take guff off anybody.”\u003c/p>\n\u003cp>\u003cstrong>From assemblywoman to congresswoman\u003c/strong>\u003c/p>\n\u003cp>When Chisholm entered the New York State Assembly in 1964, she helped pass unemployment insurance for domestic workers.\u003c/p>\n\u003cfigure id=\"attachment_13869439\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869439\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/gettyimages-642536326_800-800x540.jpg\" alt=\"Rep. Shirley Chisholm was a co-founder of the Congressional Black Caucus. She's shown here in 1971 with caucus members Bill Clay (from left), Charles Diggs, Ron Dellums and Augustus F. Hawkins.\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gettyimages-642536326_800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gettyimages-642536326_800-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gettyimages-642536326_800-768x518.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rep. Shirley Chisholm was a co-founder of the Congressional Black Caucus. She’s shown here in 1971 with caucus members Bill Clay (from left), Charles Diggs, Ron Dellums and Augustus F. Hawkins. \u003ccite>(PhotoQuest/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once in Congress, she refused to be sidelined. She fought for Head Start, an early education program begun under President Lyndon Johnson. During her seven terms in office, she co-founded the Congressional Black Caucus, advocated for the Equal Rights Amendment and supported the 1972 Title IX amendment aimed at ending discrimination against women in federally funded education and sports programs.\u003c/p>\n\u003cp>She demanded to be put into positions more relevant to the needs of her constituents back home. She became part of the Veterans Affairs committee. Within three years, she would move on to the Education and Labor Committee.\u003c/p>\n\u003cp>In 2015, President Barack Obama posthumously awarded Chisholm the Presidential Medal of Freedom.\u003c/p>\n\u003cp>“There are people in our country’s history who don’t look left or right, they just look straight ahead,” Obama said. “And Shirley Chisholm is one of those people.”\u003c/p>\n\u003cp>At the ceremony, Obama told the story of Chisholm’s early battles to be taken seriously in Congress.\u003c/p>\n\u003cp>“When Shirley was assigned to the House Agriculture Committee despite the fact that her district was from New York City, she said, ‘Apparently all they know in Washington about Brooklyn was a tree grew there.’ ”\u003c/p>\n\u003cp>Retelling her story drew laughs, in part because it encapsulated Chisholm’s sharp sense of humor and clarity.\u003c/p>\n\u003cp>In 1972, Chisholm made another history-making move.\u003c/p>\n\u003cfigure id=\"attachment_13869438\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869438\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/gettyimages-97327257_800-800x644.jpg\" alt=\"In 1972, in a history-making move, Shirley Chisholm ran for the Democratic Party's nomination for president.\" width=\"800\" height=\"644\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gettyimages-97327257_800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gettyimages-97327257_800-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gettyimages-97327257_800-768x618.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In 1972, in a history-making move, Shirley Chisholm ran for the Democratic Party’s nomination for president. \u003ccite>(Charles Ruppmann/New York Daily News Archive/NY Daily News via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She ran for the Democratic Party’s nomination for president. Her dynamic run proved a qualified woman and person of color should and could be taken seriously for the high office.\u003c/p>\n\u003cp>In the 2004 documentary \u003cem>Chisholm ’72: Unbought and Unbossed,\u003c/em> filmmaker Shola Lynch chronicles Chisholm’s presidential campaign and includes interviews with Chisholm reflecting on her life in public office.\u003c/p>\n\u003cp>During the film, Chisholm talks frankly about her legacy.\u003c/p>\n\u003cp>“I’d like them to say that Shirley Chisholm had guts,” she said.\u003c/p>\n\u003cp>\u003cstrong>The 2018 midterms and Chisholm’s legacy\u003c/strong>\u003c/p>\n\u003cp>Fifty years and one day after Chisholm’s historic 1968 win, Lauren Underwood, from Naperville, Ill., became the first African-American woman to represent her district in Congress. Underwood, like Ayanna Pressley, the first black woman elected to Congress from Massachusetts, cites Chisholm as an inspiration. Likewise, Stacey Abrams, the black candidate who ran for governor of Georgia this year, says she is proud to be part of Chisholm’s legacy.\u003c/p>\n\u003cp>When Chisholm wrapped up her remarks in 1968, she took a moment to share a new reality with her supporters and the Brooklyn residents she was poised to serve.\u003c/p>\n\u003cfigure id=\"attachment_13869437\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13869437\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/ap_18248458254214.jpg\" alt=\"Democrat Ayanna Pressley just became the first African-American woman to represent Massachusetts in Congress.\" width=\"300\" height=\"224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/ap_18248458254214.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/ap_18248458254214-160x119.jpg 160w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Democrat Ayanna Pressley just became the first African-American woman to represent Massachusetts in Congress. \u003ccite>(Steven Senne/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“To black and white Americans, although I’m making history this evening, I love to believe that my victory tonight is a symbol of hope for many of us who never dreamt or never believed that we would have had the opportunity to move out [into politics],” she said.\u003c/p>\n\u003cp>“And I want to say, to all of the marvelous people in the 12th Congressional District, black, Puerto Rican and white, that without your support and without your faith in me, and without your going to the polls today and telling the world that we have our voice, I would not have made it.”\u003c/p>\n\u003cp>“God bless you,” she said, engulfed by the sound of applause around her.\u003c/p>\n\u003cp>Ayanna Pressley of Massachusetts recently paraphrased the words of Brooklyn’s fiery congresswoman.\u003c/p>\n\u003cp>“Shirley Chisholm said she simply wanted to be remembered as a black woman being herself. When more of us do that, we win,” she said.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>. \u003c/em>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s Note: This story \u003ca href=\"https://www.npr.org/2018/11/06/664617076/a-look-back-on-shirley-chisholm-s-historic-1968-house-victory\" target=\"_blank\" rel=\"noopener\">originally appeared\u003c/a> on November 6, 2018. \u003c/em>\u003c/p>\n\u003chr>\n\u003cp>Shirley Chisholm’s celebrated win on election night, Nov. 5, 1968, still resonates with today’s election cycle, 50 years later. She became the first black woman ever elected to the U.S. House of Representatives. Over the years, her victory is often cited as inspiration for women running for public office.\u003c/p>\n\u003cp>This election season has been nicknamed “The Year of the Woman” because a record number of women have run and won seats in national and statewide races.\u003c/p>\n\u003cp>\u003cstrong>Campaign gets little attention\u003c/strong>\u003c/p>\n\u003cp>In 1968, Chisholm defeated James Farmer for New York’s 14th Congressional District. She was a New York State assemblywoman, elected in 1964 after leaving behind a career in education, first as a nursery school teacher and later a consultant to New York City’s Division of Day Care. Farmer, a black man and civil rights leader, ran as a Republican.\u003c/p>\n\u003cp>The reapportioned 12th Congressional District was largely made up of Brooklyn’s Bedford-Stuyvesant community and a few other parts of the borough. Bed-Stuy’s residents were mostly African-American and Puerto Rican. It was also Chisholm’s home.\u003c/p>\n\u003cp>Chisholm labeled Farmer “an outsider” during the campaign, because he lived in Manhattan. Among her tactics, she spoke in Spanish to Spanish speakers, a language she had developed fluency in as a schoolteacher. She took her campaign to the streets, literally, riding on a truck with a loudspeaker. Making multiple stops, she regularly kicked off her remarks by saying, “This is Fighting Shirley Chisholm.”\u003c/p>\n\u003cp>The contest between two black candidates garnered little media attention outside Brooklyn. In Susan Brownmiller’s 1970 biography of Chisholm, she described the candidate as distraught over the lack of coverage. Chisholm was concerned that only \u003cem>The Amsterdam News,\u003c/em> a black newspaper, seemed interested in covering her near the end of the campaign.\u003c/p>\n\u003cp>But when the final votes were tallied, voters chose Chisholm by better than a 2-to-1 margin over Farmer.\u003c/p>\n\u003cp>Still, media attention remained scant about Chisholm’s surprising win. Richard Nixon’s narrow win over Vice President Hubert Humphrey dominated headlines and airwaves. Television, radio and newspapers mentioned Chisholm’s news in one line on air, or in only a paragraph in print.\u003c/p>\n\u003cp>Her victory remarks from the evening are hard to come by. But NPR recently found a recording held by the New York Public Library.\u003c/p>\n\u003cp>“My dear friends, tonight is a very important night,” she told her supporters, “not so much for me, but for you, the people of this community.\u003c/p>\n\u003cp>“After many years of struggle and sacrifices on the part of several of you here this evening, we have at long last been able to elect today a voice that shall be your voice in the halls of the United States Congress.”\u003c/p>\n\u003cp>Within a couple weeks of the election, a national black weekly, \u003cem>Jet\u003c/em> magazine, put Chisholm on the cover. It wasn’t until several months later, when she was a sworn-in member of Congress, that the country began to pay closer attention. In February 1969, \u003cem>Ebony\u003c/em> magazine did a cover story. Later still, she was filmed on the steps of the U.S. Capitol by an NBC News camera crew, answering questions from visiting Brooklyn students from her district.\u003c/p>\n\u003cp>In the NBC documentary \u003cem>The Irrepressible Shirley Chisholm,\u003c/em> a black teenager asks her, “How do you feel being the first black woman in the House of Representatives?”\u003c/p>\n\u003cp>“I have mixed feelings,” Chisholm begins, as she looks at the girl along with her classmates.\u003c/p>\n\u003cp>“First of all, I’m very glad to make history in this country being the first black woman, [but] I don’t get terribly excited about it.”\u003c/p>\n\u003cp>In 2003, some 20 years after Chisholm left Congress, Tavis Smiley asked her which had been a bigger obstacle during her career, being black or being a woman?\u003c/p>\n\u003cp>“I met far more discrimination being a woman than being black when I moved out into the political arena,” she said. “All kinds of meetings and all kinds of groups got together in order to stop me from moving out [into politics]. Because I was very outspoken and very articulate and didn’t take guff off anybody.”\u003c/p>\n\u003cp>\u003cstrong>From assemblywoman to congresswoman\u003c/strong>\u003c/p>\n\u003cp>When Chisholm entered the New York State Assembly in 1964, she helped pass unemployment insurance for domestic workers.\u003c/p>\n\u003cfigure id=\"attachment_13869439\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869439\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/gettyimages-642536326_800-800x540.jpg\" alt=\"Rep. Shirley Chisholm was a co-founder of the Congressional Black Caucus. She's shown here in 1971 with caucus members Bill Clay (from left), Charles Diggs, Ron Dellums and Augustus F. Hawkins.\" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gettyimages-642536326_800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gettyimages-642536326_800-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gettyimages-642536326_800-768x518.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rep. Shirley Chisholm was a co-founder of the Congressional Black Caucus. She’s shown here in 1971 with caucus members Bill Clay (from left), Charles Diggs, Ron Dellums and Augustus F. Hawkins. \u003ccite>(PhotoQuest/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once in Congress, she refused to be sidelined. She fought for Head Start, an early education program begun under President Lyndon Johnson. During her seven terms in office, she co-founded the Congressional Black Caucus, advocated for the Equal Rights Amendment and supported the 1972 Title IX amendment aimed at ending discrimination against women in federally funded education and sports programs.\u003c/p>\n\u003cp>She demanded to be put into positions more relevant to the needs of her constituents back home. She became part of the Veterans Affairs committee. Within three years, she would move on to the Education and Labor Committee.\u003c/p>\n\u003cp>In 2015, President Barack Obama posthumously awarded Chisholm the Presidential Medal of Freedom.\u003c/p>\n\u003cp>“There are people in our country’s history who don’t look left or right, they just look straight ahead,” Obama said. “And Shirley Chisholm is one of those people.”\u003c/p>\n\u003cp>At the ceremony, Obama told the story of Chisholm’s early battles to be taken seriously in Congress.\u003c/p>\n\u003cp>“When Shirley was assigned to the House Agriculture Committee despite the fact that her district was from New York City, she said, ‘Apparently all they know in Washington about Brooklyn was a tree grew there.’ ”\u003c/p>\n\u003cp>Retelling her story drew laughs, in part because it encapsulated Chisholm’s sharp sense of humor and clarity.\u003c/p>\n\u003cp>In 1972, Chisholm made another history-making move.\u003c/p>\n\u003cfigure id=\"attachment_13869438\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869438\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/gettyimages-97327257_800-800x644.jpg\" alt=\"In 1972, in a history-making move, Shirley Chisholm ran for the Democratic Party's nomination for president.\" width=\"800\" height=\"644\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gettyimages-97327257_800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gettyimages-97327257_800-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/gettyimages-97327257_800-768x618.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In 1972, in a history-making move, Shirley Chisholm ran for the Democratic Party’s nomination for president. \u003ccite>(Charles Ruppmann/New York Daily News Archive/NY Daily News via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She ran for the Democratic Party’s nomination for president. Her dynamic run proved a qualified woman and person of color should and could be taken seriously for the high office.\u003c/p>\n\u003cp>In the 2004 documentary \u003cem>Chisholm ’72: Unbought and Unbossed,\u003c/em> filmmaker Shola Lynch chronicles Chisholm’s presidential campaign and includes interviews with Chisholm reflecting on her life in public office.\u003c/p>\n\u003cp>During the film, Chisholm talks frankly about her legacy.\u003c/p>\n\u003cp>“I’d like them to say that Shirley Chisholm had guts,” she said.\u003c/p>\n\u003cp>\u003cstrong>The 2018 midterms and Chisholm’s legacy\u003c/strong>\u003c/p>\n\u003cp>Fifty years and one day after Chisholm’s historic 1968 win, Lauren Underwood, from Naperville, Ill., became the first African-American woman to represent her district in Congress. Underwood, like Ayanna Pressley, the first black woman elected to Congress from Massachusetts, cites Chisholm as an inspiration. Likewise, Stacey Abrams, the black candidate who ran for governor of Georgia this year, says she is proud to be part of Chisholm’s legacy.\u003c/p>\n\u003cp>When Chisholm wrapped up her remarks in 1968, she took a moment to share a new reality with her supporters and the Brooklyn residents she was poised to serve.\u003c/p>\n\u003cfigure id=\"attachment_13869437\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13869437\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/ap_18248458254214.jpg\" alt=\"Democrat Ayanna Pressley just became the first African-American woman to represent Massachusetts in Congress.\" width=\"300\" height=\"224\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/ap_18248458254214.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/ap_18248458254214-160x119.jpg 160w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">Democrat Ayanna Pressley just became the first African-American woman to represent Massachusetts in Congress. \u003ccite>(Steven Senne/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“To black and white Americans, although I’m making history this evening, I love to believe that my victory tonight is a symbol of hope for many of us who never dreamt or never believed that we would have had the opportunity to move out [into politics],” she said.\u003c/p>\n\u003cp>“And I want to say, to all of the marvelous people in the 12th Congressional District, black, Puerto Rican and white, that without your support and without your faith in me, and without your going to the polls today and telling the world that we have our voice, I would not have made it.”\u003c/p>\n\u003cp>“God bless you,” she said, engulfed by the sound of applause around her.\u003c/p>\n\u003cp>Ayanna Pressley of Massachusetts recently paraphrased the words of Brooklyn’s fiery congresswoman.\u003c/p>\n\u003cp>“Shirley Chisholm said she simply wanted to be remembered as a black woman being herself. When more of us do that, we win,” she said.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>. \u003c/em>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Students Honor Their Heritage During Día de los Muertos in SF's Mission District",
"title": "Students Honor Their Heritage During Día de los Muertos in SF's Mission District",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Rebeca Flores walked through the hallways of the school to the beat of her \u003cem>ayoyotes — \u003c/em>a percussion instrument made of hard shells \u003cem>—\u003c/em> with her bright orange Aztec regalia and a \u003cem>copili\u003c/em> headdress. Flores, the family liaison at John O'Connell High School in San Francisco's Mission District, led the \u003cem>Danza Azteca\u003c/em> at the Latinx Heritage assembly.\u003c/p>\n\u003cp>[aside postID=\"news_11784055\" label=\"\"]\u003c/p>\n\u003cp>On Friday, John O'Connell High School students celebrated their Latinx heritage during \u003cspan style=\"font-weight: 400\">Día\u003c/span> de los Muertos at an event coordinated by the Sueño Latinx student club. The assembly showcased Flores' dance group performing traditional Mexican dances.\u003c/p>\n\u003cfigure id=\"attachment_11784504\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11784504 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/11/Cropped_DayofDead_Morga_010-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/Cropped_DayofDead_Morga_010-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/Cropped_DayofDead_Morga_010-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/Cropped_DayofDead_Morga_010-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/Cropped_DayofDead_Morga_010-qut-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/Cropped_DayofDead_Morga_010-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Leeza Lopez (front) and Alejandra Gutierrez (back) dancing Danza Azteca at John O'Connell High School on Nov. 1. \u003ccite>(Adriana Morga/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It is a day when the ancestors come closest to our realm. It is a time to acknowledge them, to commune with them, sing songs to them, offer them food,\" Flores said. \"We offer them our prayer through dance. We stay all night and then we dance in sunrise. That is our offering for them taking care of us.”\u003c/p>\n\u003cfigure id=\"attachment_11784500\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11784500\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/11/DiadelosMuertos_Morga_019-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DiadelosMuertos_Morga_019-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DiadelosMuertos_Morga_019-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DiadelosMuertos_Morga_019-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DiadelosMuertos_Morga_019-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DiadelosMuertos_Morga_019.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Rebeca Flores, Leesa X. Lopez and Angelica Gutierrez pose at John O-Connell High School. \u003ccite>(Adriana Morga/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Day of the Dead is an\u003ca href=\"https://www.npr.org/sections/thesalt/2012/11/01/163549325/day-of-the-dead-decoded-a-joyful-celebration-of-life-and-food\"> Aztec\u003c/a> tradition that focused on celebrating life instead of mourning death. According to the Aztecs, this holiday is an opportunity from those who reside in the afterlife to come back and visit the people they left behind.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On the holiday, people \u003ca href=\"https://www.npr.org/2017/11/02/561527322/mexicos-celebrated-d-a-de-los-muertos-evolves-in-the-u-s\">celebrate\u003c/a> and give \u003cem>ofrendas\u003c/em>, or offerings, to those who have passed — including family, friends or even artists that have stayed in the memory of those who loved them.\u003c/p>\n\u003cfigure id=\"attachment_11784519\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11784519\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/11/RS40059_diadelosmuertos_morga-020-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40059_diadelosmuertos_morga-020-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40059_diadelosmuertos_morga-020-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40059_diadelosmuertos_morga-020-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40059_diadelosmuertos_morga-020-qut-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40059_diadelosmuertos_morga-020-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rebeca Flores performs the music for the Danza Azteca, a native Mexican dance. \u003ccite>(Adriana Morga/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11784547\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11784547\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/11/RS40064_DSC_0760-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40064_DSC_0760-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40064_DSC_0760-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40064_DSC_0760-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40064_DSC_0760-qut-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40064_DSC_0760-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancers wear ayoyotes, an Aztec percussion instrument wore in the ankles. \u003ccite>(Adriana Morga/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"It is a day to celebrate life with them [the ancestors] and also to remember that death is not an ending it is a transition,\" \u003cspan style=\"font-weight: 400\">said Leeza Lopez, a community health outreach worker at Thurgood Marshall High School and member of Flores' dance group.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11784487\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11784487\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/11/RS40036_DayofDead_Morga_001-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40036_DayofDead_Morga_001-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40036_DayofDead_Morga_001-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40036_DayofDead_Morga_001-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40036_DayofDead_Morga_001-qut-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40036_DayofDead_Morga_001-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dia de los Muertos Altar in John O'Connell High School. \u003ccite>(Adriana Morga/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This celebration \u003ca href=\"https://www.npr.org/sections/thesalt/2012/11/01/163549325/day-of-the-dead-decoded-a-joyful-celebration-of-life-and-food\">lasts\u003c/a> for two days: On Nov. 1, people remember the youth, and the next day they celebrate elders who passed away. While some materials change depending on who makes the altar, all of them have \u003cem>veladoras \u003c/em>(candles), \u003cem>calaveras de azúcar \u003c/em>(sugar skulls), \u003cem>papel picado \u003c/em>(pecked paper), \u003cem>pan de muerto \u003c/em>(bread) and \u003cem>cempasúchil \u003c/em>flowers.\u003c/p>\n\u003cfigure id=\"attachment_11784490\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11784490\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/11/RS40043_DayofDead_Morga_008-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40043_DayofDead_Morga_008-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40043_DayofDead_Morga_008-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40043_DayofDead_Morga_008-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40043_DayofDead_Morga_008-qut-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40043_DayofDead_Morga_008-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Altar for Dia de los Muertos at John O'Connell High School. \u003ccite>(Adriana Morga/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The day of the dead is when you bring all your memories of the people that passed away, even though it is sad how they died or how much you miss them,\" said Sissy Daniela Gomez, a Honduran-American student and president of Sueño Latinx club. \"It just brings memories and you feel like that person is next to you all the time, you feel their presence.”\u003c/p>\n\u003cp>Emely Urbina, Vice president of Sueño Latinx club, also performed a poem titled \"Los Muertos,\" or \"The Dead.\" She said that for her, the Day of the Dead is a time to get closer to our past.\u003c/p>\n\u003cfigure id=\"attachment_11784526\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11784526 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/11/RS40047_DayofDead_Morga_012-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40047_DayofDead_Morga_012-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40047_DayofDead_Morga_012-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40047_DayofDead_Morga_012-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40047_DayofDead_Morga_012-qut-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40047_DayofDead_Morga_012-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emely Urbina performs her poem at the Day of the Dead assembly at John O'Connell High School. \u003ccite>(Adriana Morga/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cspan style=\"font-weight: 400\">Día\u003c/span> de los Muertos altars, people often add an object that signifies something that the person loved to do. For Toby Blanco-Arevalo, a student at John O'Connell high school, searching for this item is his favorite part of the celebration.\u003c/p>\n\u003cp>\"My grandpa was a carpenter, so he really liked building things,\" said Blanco-Arevalo. \"My grandma had one of his old tools, so we got it and we put it in the altar.\"\u003c/p>\n\u003cp>For others like Karina Peña, a junior student at John O'Connell, it's a holiday that brings her family together to paint their faces as \u003cem>calaveras\u003c/em> (skulls), while they also celebrate the lives of her aunt and grandmother.\u003c/p>\n\u003cfigure id=\"attachment_11784507\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11784507\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/11/RS40050_DayofDead_Morga_015-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40050_DayofDead_Morga_015-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40050_DayofDead_Morga_015-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40050_DayofDead_Morga_015-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40050_DayofDead_Morga_015-qut-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40050_DayofDead_Morga_015-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Karina Peña, student at John O'Connell High School, in front of the school's altar for Día de los Muertos. \u003ccite>(Adriana Morga/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Leslie De Haro — an 11th and 12th grade counselor and advisor of Sueño Latinx club — wants her students to remember their Latino history and traditions even when they live in the United States.\u003c/p>\n\u003cfigure id=\"attachment_11784508\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11784508\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/11/RS40051_DayofDead_Morga_016-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40051_DayofDead_Morga_016-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40051_DayofDead_Morga_016-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40051_DayofDead_Morga_016-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40051_DayofDead_Morga_016-qut-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40051_DayofDead_Morga_016-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Leslie De Haro, school counselor and Sueño Latinx club advisor at John O'Connell high school. \u003ccite>(Adriana Morga/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>De Haro helped found the Sueño Latinx club when she started working at John O'Connell High School five years ago.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I want my students to remember their ‘why,' a lot of the times our 'why' is our family,\" De Haro said. On Día de los Muertos, she celebrates the life of her dad who passed away when she was a teenager, but who continues to motivate her\u003c/span>\u003cspan style=\"font-weight: 400\">. \"I\u003c/span>\u003cspan style=\"font-weight: 400\">t really hurts when they are no longer with us, but [we're] remembering that they are in us, that we have a purpose and we have to continue going.”\u003c/span>\u003c/p>\n\n",
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"excerpt": "John O'Connell High School students celebrated Día de los Muertos on Friday. “I want my students to remember their 'why,' a lot of the times our 'why' is our family,\" said Leslie De Haro, a school counselor.",
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"description": "John O'Connell High School students celebrated Día de los Muertos on Friday. “I want my students to remember their 'why,' a lot of the times our 'why' is our family," said Leslie De Haro, a school counselor.",
"title": "Students Honor Their Heritage During Día de los Muertos in SF's Mission District | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rebeca Flores walked through the hallways of the school to the beat of her \u003cem>ayoyotes — \u003c/em>a percussion instrument made of hard shells \u003cem>—\u003c/em> with her bright orange Aztec regalia and a \u003cem>copili\u003c/em> headdress. Flores, the family liaison at John O'Connell High School in San Francisco's Mission District, led the \u003cem>Danza Azteca\u003c/em> at the Latinx Heritage assembly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Friday, John O'Connell High School students celebrated their Latinx heritage during \u003cspan style=\"font-weight: 400\">Día\u003c/span> de los Muertos at an event coordinated by the Sueño Latinx student club. The assembly showcased Flores' dance group performing traditional Mexican dances.\u003c/p>\n\u003cfigure id=\"attachment_11784504\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11784504 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/11/Cropped_DayofDead_Morga_010-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/Cropped_DayofDead_Morga_010-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/Cropped_DayofDead_Morga_010-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/Cropped_DayofDead_Morga_010-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/Cropped_DayofDead_Morga_010-qut-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/Cropped_DayofDead_Morga_010-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Leeza Lopez (front) and Alejandra Gutierrez (back) dancing Danza Azteca at John O'Connell High School on Nov. 1. \u003ccite>(Adriana Morga/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It is a day when the ancestors come closest to our realm. It is a time to acknowledge them, to commune with them, sing songs to them, offer them food,\" Flores said. \"We offer them our prayer through dance. We stay all night and then we dance in sunrise. That is our offering for them taking care of us.”\u003c/p>\n\u003cfigure id=\"attachment_11784500\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11784500\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/11/DiadelosMuertos_Morga_019-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/DiadelosMuertos_Morga_019-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DiadelosMuertos_Morga_019-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DiadelosMuertos_Morga_019-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DiadelosMuertos_Morga_019-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/DiadelosMuertos_Morga_019.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Rebeca Flores, Leesa X. Lopez and Angelica Gutierrez pose at John O-Connell High School. \u003ccite>(Adriana Morga/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Day of the Dead is an\u003ca href=\"https://www.npr.org/sections/thesalt/2012/11/01/163549325/day-of-the-dead-decoded-a-joyful-celebration-of-life-and-food\"> Aztec\u003c/a> tradition that focused on celebrating life instead of mourning death. According to the Aztecs, this holiday is an opportunity from those who reside in the afterlife to come back and visit the people they left behind.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On the holiday, people \u003ca href=\"https://www.npr.org/2017/11/02/561527322/mexicos-celebrated-d-a-de-los-muertos-evolves-in-the-u-s\">celebrate\u003c/a> and give \u003cem>ofrendas\u003c/em>, or offerings, to those who have passed — including family, friends or even artists that have stayed in the memory of those who loved them.\u003c/p>\n\u003cfigure id=\"attachment_11784519\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11784519\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/11/RS40059_diadelosmuertos_morga-020-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40059_diadelosmuertos_morga-020-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40059_diadelosmuertos_morga-020-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40059_diadelosmuertos_morga-020-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40059_diadelosmuertos_morga-020-qut-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40059_diadelosmuertos_morga-020-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rebeca Flores performs the music for the Danza Azteca, a native Mexican dance. \u003ccite>(Adriana Morga/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11784547\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11784547\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/11/RS40064_DSC_0760-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40064_DSC_0760-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40064_DSC_0760-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40064_DSC_0760-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40064_DSC_0760-qut-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40064_DSC_0760-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancers wear ayoyotes, an Aztec percussion instrument wore in the ankles. \u003ccite>(Adriana Morga/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"It is a day to celebrate life with them [the ancestors] and also to remember that death is not an ending it is a transition,\" \u003cspan style=\"font-weight: 400\">said Leeza Lopez, a community health outreach worker at Thurgood Marshall High School and member of Flores' dance group.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11784487\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11784487\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/11/RS40036_DayofDead_Morga_001-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40036_DayofDead_Morga_001-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40036_DayofDead_Morga_001-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40036_DayofDead_Morga_001-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40036_DayofDead_Morga_001-qut-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40036_DayofDead_Morga_001-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dia de los Muertos Altar in John O'Connell High School. \u003ccite>(Adriana Morga/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This celebration \u003ca href=\"https://www.npr.org/sections/thesalt/2012/11/01/163549325/day-of-the-dead-decoded-a-joyful-celebration-of-life-and-food\">lasts\u003c/a> for two days: On Nov. 1, people remember the youth, and the next day they celebrate elders who passed away. While some materials change depending on who makes the altar, all of them have \u003cem>veladoras \u003c/em>(candles), \u003cem>calaveras de azúcar \u003c/em>(sugar skulls), \u003cem>papel picado \u003c/em>(pecked paper), \u003cem>pan de muerto \u003c/em>(bread) and \u003cem>cempasúchil \u003c/em>flowers.\u003c/p>\n\u003cfigure id=\"attachment_11784490\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11784490\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/11/RS40043_DayofDead_Morga_008-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40043_DayofDead_Morga_008-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40043_DayofDead_Morga_008-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40043_DayofDead_Morga_008-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40043_DayofDead_Morga_008-qut-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40043_DayofDead_Morga_008-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Altar for Dia de los Muertos at John O'Connell High School. \u003ccite>(Adriana Morga/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The day of the dead is when you bring all your memories of the people that passed away, even though it is sad how they died or how much you miss them,\" said Sissy Daniela Gomez, a Honduran-American student and president of Sueño Latinx club. \"It just brings memories and you feel like that person is next to you all the time, you feel their presence.”\u003c/p>\n\u003cp>Emely Urbina, Vice president of Sueño Latinx club, also performed a poem titled \"Los Muertos,\" or \"The Dead.\" She said that for her, the Day of the Dead is a time to get closer to our past.\u003c/p>\n\u003cfigure id=\"attachment_11784526\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11784526 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/11/RS40047_DayofDead_Morga_012-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40047_DayofDead_Morga_012-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40047_DayofDead_Morga_012-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40047_DayofDead_Morga_012-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40047_DayofDead_Morga_012-qut-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40047_DayofDead_Morga_012-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emely Urbina performs her poem at the Day of the Dead assembly at John O'Connell High School. \u003ccite>(Adriana Morga/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cspan style=\"font-weight: 400\">Día\u003c/span> de los Muertos altars, people often add an object that signifies something that the person loved to do. For Toby Blanco-Arevalo, a student at John O'Connell high school, searching for this item is his favorite part of the celebration.\u003c/p>\n\u003cp>\"My grandpa was a carpenter, so he really liked building things,\" said Blanco-Arevalo. \"My grandma had one of his old tools, so we got it and we put it in the altar.\"\u003c/p>\n\u003cp>For others like Karina Peña, a junior student at John O'Connell, it's a holiday that brings her family together to paint their faces as \u003cem>calaveras\u003c/em> (skulls), while they also celebrate the lives of her aunt and grandmother.\u003c/p>\n\u003cfigure id=\"attachment_11784507\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11784507\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/11/RS40050_DayofDead_Morga_015-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40050_DayofDead_Morga_015-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40050_DayofDead_Morga_015-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40050_DayofDead_Morga_015-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40050_DayofDead_Morga_015-qut-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40050_DayofDead_Morga_015-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Karina Peña, student at John O'Connell High School, in front of the school's altar for Día de los Muertos. \u003ccite>(Adriana Morga/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Leslie De Haro — an 11th and 12th grade counselor and advisor of Sueño Latinx club — wants her students to remember their Latino history and traditions even when they live in the United States.\u003c/p>\n\u003cfigure id=\"attachment_11784508\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11784508\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/11/RS40051_DayofDead_Morga_016-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40051_DayofDead_Morga_016-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40051_DayofDead_Morga_016-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40051_DayofDead_Morga_016-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40051_DayofDead_Morga_016-qut-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/10/2019/11/RS40051_DayofDead_Morga_016-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Leslie De Haro, school counselor and Sueño Latinx club advisor at John O'Connell high school. \u003ccite>(Adriana Morga/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>De Haro helped found the Sueño Latinx club when she started working at John O'Connell High School five years ago.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I want my students to remember their ‘why,' a lot of the times our 'why' is our family,\" De Haro said. On Día de los Muertos, she celebrates the life of her dad who passed away when she was a teenager, but who continues to motivate her\u003c/span>\u003cspan style=\"font-weight: 400\">. \"I\u003c/span>\u003cspan style=\"font-weight: 400\">t really hurts when they are no longer with us, but [we're] remembering that they are in us, that we have a purpose and we have to continue going.”\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "where-to-celebrate-dia-de-los-muertos-in-the-bay-area",
"title": "Where to Celebrate Dia de los Muertos in the Bay Area",
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"headTitle": "Where to Celebrate Dia de los Muertos in the Bay Area | KQED",
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"content": "\u003cp>Every year, the Bay Area Latin American community gathers their \u003cem>calaveras\u003c/em> (sugar skulls), \u003cem>papel picado\u003c/em> (pecked paper) and cempasuchil flowers to build altars and remember their loved ones on Nov. 1-2.\u003c/p>\n\u003cp>Día de los Muertos\u003cem>,\u003c/em> or Day of the Dead, is an ancient celebration \u003ca href=\"https://www.npr.org/sections/thesalt/2012/11/01/163549325/day-of-the-dead-decoded-a-joyful-celebration-of-life-and-food\">born\u003c/a> in central Mexico that commemorates people who have passed, but live on through memories. Here is a list of events in the Bay Area if you want to celebrate or learn more about the holiday:\u003c/p>\n\u003cfigure id=\"attachment_11784123\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11784123 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/10/RS7407_DiaDe-Muertos_2nov2013_0020_web-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\">\u003cfigcaption class=\"wp-caption-text\">A paper mache skeleton grins at passersby on 24th Street during the Day of the Dead in San Francisco. \u003ccite>(Sara Bloomberg/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>San Francisco\u003c/h3>\n\u003cp>\u003cstrong>Festival of Altars\u003c/strong>\u003c/p>\n\u003cp>Where: Potrero del Sol Park, 2827 Cesar Chavez St., San Francisco, CA 94110\u003cbr>\nWhen: Nov. 2 from 4 p.m. to 11 p.m.\u003cbr>\n\u003ca href=\"https://www.dayofthedeadsf.org/festival-of-altars\">More information\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11784065\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11784065 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/10/RS39920_SF-Symphony-Dia-de-los-Muertos-qut-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS39920_SF-Symphony-Dia-de-los-Muertos-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS39920_SF-Symphony-Dia-de-los-Muertos-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS39920_SF-Symphony-Dia-de-los-Muertos-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS39920_SF-Symphony-Dia-de-los-Muertos-qut-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS39920_SF-Symphony-Dia-de-los-Muertos-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Catrinas y Catrines at SF Symphony \u003ccite>(Brandon Patoc/SF Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>San Francisco Symphony: Día de los Muertos Community Concert and “Coco” Screening\u003c/strong>\u003c/p>\n\u003cp>Where: Davies Symphony Hall, 201 Van Ness Ave., San Francisco, CA, 94102\u003cbr>\nWhen: “Coco” will be screened on Nov. 1 at 7:30 p.m. and November 2, 2019 at 7:30 p.m. The Día de los Muertos Community Concert is Nov. 2 at 11 a.m. and 2 p.m.\u003cbr>\n\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/Calendar.aspx#mo=2019:11\">More information\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Mission Cultural Center for Latino Arts: Cultivando Tiempo\u003c/strong>\u003c/p>\n\u003cp>Where: Mission Cultural Center for Latino Arts, 2868 Mission St., San Francisco, CA, 94110\u003cbr>\nWhen: Nov. 2 from 2 p.m. to 11 p.m.\u003cbr>\n\u003ca href=\"https://missionculturalcenter.org/event/day-of-the-dead/?fbclid=IwAR2qpnZMfAI_Klw_U4RsTL3Zcnb2vL1J4dQ61PzqVSG97JH-4gvRLgPTAZs\">More information\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11784105\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11784105\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/10/RS27789_Image-uploaded-from-iOS-24-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS27789_Image-uploaded-from-iOS-24-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS27789_Image-uploaded-from-iOS-24-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS27789_Image-uploaded-from-iOS-24-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS27789_Image-uploaded-from-iOS-24-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS27789_Image-uploaded-from-iOS-24-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS27789_Image-uploaded-from-iOS-24-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS27789_Image-uploaded-from-iOS-24-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS27789_Image-uploaded-from-iOS-24-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS27789_Image-uploaded-from-iOS-24-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS27789_Image-uploaded-from-iOS-24-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Festival in the 2017 Fruitvale neighborhood of Oakland. \u003ccite>(Tiffany Camhi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch1>East Bay\u003c/h1>\n\u003cp>\u003cstrong>The Union Council: 24th Annual Día de los Muertos Festival\u003c/strong>\u003c/p>\n\u003cp>Where: Fruitvale Village, 34th Avenue Oakland, CA 94601\u003cbr>\nWhen: Nov. 2 from 10 a.m. to 5 p.m.\u003cbr>\n\u003ca href=\"https://unitycouncil.org/dia-de-los-muertos/\">More information\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>The Xocolate Bar: Día de los Muertos Chocolate Tasting\u003c/strong>\u003c/p>\n\u003cp>Where: The Xocolate Bar, 1709 Solano Ave., Berkeley, CA 94707\u003cbr>\nWhen: Nov. 2 from 1 p.m. to 3 p.m.\u003cbr>\n\u003ca href=\"https://www.eventbrite.com/e/dia-de-los-muertos-chocolate-tasting-at-1pm-130-2pm-and-230-tickets-71738821747\">More information\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11784186\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11784186 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/10/RS7408_DiaDe-Muertos_2nov2013_0058_web-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS7408_DiaDe-Muertos_2nov2013_0058_web-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS7408_DiaDe-Muertos_2nov2013_0058_web-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS7408_DiaDe-Muertos_2nov2013_0058_web.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Traditional sugar skulls and candles are used in every altar of the Day of the Dead. \u003ccite>(Sara Bloomberg/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Oakland Ballet Company: Luna Mexicana\u003c/strong>\u003c/p>\n\u003cp>Where: Paramount Theater, 2025 Broadway, Oakland, CA 94162\u003cbr>\nWhen: Nov. 1 at 7:30 p.m. and Nov. 2 at 4 p.m.\u003cbr>\n\u003ca href=\"http://oaklandballet.org/wp/luna-mexicana/\">More information\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Ehrenber Cellars\u003c/strong>\u003c/p>\n\u003cp>Where: Ehrenber Cellars, 346 Earhart Way, Livermore, CA 94550\u003cbr>\nWhen: Nov. 1 from 4 p.m. to 8 p.m.\u003cbr>\n\u003ca href=\"http://ehrenbergcellars.com/\">More information\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11784189\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11784189\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/10/RS27797_Image-uploaded-from-iOS-9-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS27797_Image-uploaded-from-iOS-9-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS27797_Image-uploaded-from-iOS-9-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS27797_Image-uploaded-from-iOS-9-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS27797_Image-uploaded-from-iOS-9-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS27797_Image-uploaded-from-iOS-9-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS27797_Image-uploaded-from-iOS-9-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS27797_Image-uploaded-from-iOS-9-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS27797_Image-uploaded-from-iOS-9-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS27797_Image-uploaded-from-iOS-9-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS27797_Image-uploaded-from-iOS-9-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Traditional Mexican altar for El Dia de los Muertos celebration. \u003ccite>(Tiffany Camhi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch1>North Bay\u003c/h1>\n\u003cp>[aside postID=\"news_11626474\" label=\"\"]\u003c/p>\n\u003cp>\u003cstrong>Napa Valley Latino Heritage: El Día de los Muertos Napa Celebration\u003c/strong>\u003c/p>\n\u003cp>Where: Boys’ & Girls’ Club of Napa, 1515 Pueblo Ave., Napa, CA 94558\u003cbr>\nWhen: Nov. 2 from 1 p.m. to 8 p.m.\u003cbr>\n\u003ca href=\"https://www.facebook.com/events/510383596474757/?active_tab=about\">More information\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Day of the Dead San Rafael: Día de los Muertos\u003c/strong>\u003c/p>\n\u003cp>Where: Albert J. Boro Community Center, 50 Canal St., San Rafael, CA 94901\u003cbr>\nWhen: Nov. 2 from 3 p.m. to 9 p.m.\u003cbr>\n\u003ca href=\"https://dayofthedeadsr.org/\">More information\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11784119\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11784119\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/10/28131281788_d59c5f4164_k-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Day of the Dead Celebration \u003ccite>(Courtesy of the Children's Discovery Museum of San Jose)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch1>South Bay\u003c/h1>\n\u003cp>\u003cstrong>The Children’s Discovery Museum of San Jose\u003c/strong>\u003c/p>\n\u003cp>Where: Children’s Discovery Museum of San Jose, 180 Woz Way San Jose, CA 95110\u003cbr>\nWhen: Nov. 3 from 12 p.m. to 4 p.m.\u003cbr>\n\u003ca href=\"https://www.cdm.org/event/dia-de-los-muertos-5/\">More information\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>“Día de los Muertos Celebration” by San Mateo County Parks\u003c/strong>\u003c/p>\n\u003cp>Where: Friendship Park, 290 Huntigton Ave., Redwood City, CA 94063\u003cbr>\nWhen: Nov. 2 from 9 a.m. to 11 a.m.\u003cbr>\n\u003ca href=\"https://parks.smcgov.org/d%C3%ADa-de-los-muertos-celebration\">More information\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "Here is a list of Bay Area events celebrating the Day of the Dead this weekend.",
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"title": "Where to Celebrate Dia de los Muertos in the Bay Area | KQED",
"description": "Here is a list of Bay Area events celebrating the Day of the Dead this weekend.",
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"headline": "Where to Celebrate Dia de los Muertos in the Bay Area",
"datePublished": "2019-11-01T05:00:29-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every year, the Bay Area Latin American community gathers their \u003cem>calaveras\u003c/em> (sugar skulls), \u003cem>papel picado\u003c/em> (pecked paper) and cempasuchil flowers to build altars and remember their loved ones on Nov. 1-2.\u003c/p>\n\u003cp>Día de los Muertos\u003cem>,\u003c/em> or Day of the Dead, is an ancient celebration \u003ca href=\"https://www.npr.org/sections/thesalt/2012/11/01/163549325/day-of-the-dead-decoded-a-joyful-celebration-of-life-and-food\">born\u003c/a> in central Mexico that commemorates people who have passed, but live on through memories. Here is a list of events in the Bay Area if you want to celebrate or learn more about the holiday:\u003c/p>\n\u003cfigure id=\"attachment_11784123\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11784123 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/10/RS7407_DiaDe-Muertos_2nov2013_0020_web-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\">\u003cfigcaption class=\"wp-caption-text\">A paper mache skeleton grins at passersby on 24th Street during the Day of the Dead in San Francisco. \u003ccite>(Sara Bloomberg/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>San Francisco\u003c/h3>\n\u003cp>\u003cstrong>Festival of Altars\u003c/strong>\u003c/p>\n\u003cp>Where: Potrero del Sol Park, 2827 Cesar Chavez St., San Francisco, CA 94110\u003cbr>\nWhen: Nov. 2 from 4 p.m. to 11 p.m.\u003cbr>\n\u003ca href=\"https://www.dayofthedeadsf.org/festival-of-altars\">More information\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11784065\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11784065 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/10/RS39920_SF-Symphony-Dia-de-los-Muertos-qut-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS39920_SF-Symphony-Dia-de-los-Muertos-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS39920_SF-Symphony-Dia-de-los-Muertos-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS39920_SF-Symphony-Dia-de-los-Muertos-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS39920_SF-Symphony-Dia-de-los-Muertos-qut-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS39920_SF-Symphony-Dia-de-los-Muertos-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Catrinas y Catrines at SF Symphony \u003ccite>(Brandon Patoc/SF Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>San Francisco Symphony: Día de los Muertos Community Concert and “Coco” Screening\u003c/strong>\u003c/p>\n\u003cp>Where: Davies Symphony Hall, 201 Van Ness Ave., San Francisco, CA, 94102\u003cbr>\nWhen: “Coco” will be screened on Nov. 1 at 7:30 p.m. and November 2, 2019 at 7:30 p.m. The Día de los Muertos Community Concert is Nov. 2 at 11 a.m. and 2 p.m.\u003cbr>\n\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/Calendar.aspx#mo=2019:11\">More information\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Mission Cultural Center for Latino Arts: Cultivando Tiempo\u003c/strong>\u003c/p>\n\u003cp>Where: Mission Cultural Center for Latino Arts, 2868 Mission St., San Francisco, CA, 94110\u003cbr>\nWhen: Nov. 2 from 2 p.m. to 11 p.m.\u003cbr>\n\u003ca href=\"https://missionculturalcenter.org/event/day-of-the-dead/?fbclid=IwAR2qpnZMfAI_Klw_U4RsTL3Zcnb2vL1J4dQ61PzqVSG97JH-4gvRLgPTAZs\">More information\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11784105\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11784105\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/10/RS27789_Image-uploaded-from-iOS-24-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS27789_Image-uploaded-from-iOS-24-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS27789_Image-uploaded-from-iOS-24-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS27789_Image-uploaded-from-iOS-24-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS27789_Image-uploaded-from-iOS-24-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS27789_Image-uploaded-from-iOS-24-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS27789_Image-uploaded-from-iOS-24-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS27789_Image-uploaded-from-iOS-24-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS27789_Image-uploaded-from-iOS-24-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS27789_Image-uploaded-from-iOS-24-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS27789_Image-uploaded-from-iOS-24-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Festival in the 2017 Fruitvale neighborhood of Oakland. \u003ccite>(Tiffany Camhi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch1>East Bay\u003c/h1>\n\u003cp>\u003cstrong>The Union Council: 24th Annual Día de los Muertos Festival\u003c/strong>\u003c/p>\n\u003cp>Where: Fruitvale Village, 34th Avenue Oakland, CA 94601\u003cbr>\nWhen: Nov. 2 from 10 a.m. to 5 p.m.\u003cbr>\n\u003ca href=\"https://unitycouncil.org/dia-de-los-muertos/\">More information\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>The Xocolate Bar: Día de los Muertos Chocolate Tasting\u003c/strong>\u003c/p>\n\u003cp>Where: The Xocolate Bar, 1709 Solano Ave., Berkeley, CA 94707\u003cbr>\nWhen: Nov. 2 from 1 p.m. to 3 p.m.\u003cbr>\n\u003ca href=\"https://www.eventbrite.com/e/dia-de-los-muertos-chocolate-tasting-at-1pm-130-2pm-and-230-tickets-71738821747\">More information\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11784186\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11784186 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/10/RS7408_DiaDe-Muertos_2nov2013_0058_web-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS7408_DiaDe-Muertos_2nov2013_0058_web-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS7408_DiaDe-Muertos_2nov2013_0058_web-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS7408_DiaDe-Muertos_2nov2013_0058_web.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Traditional sugar skulls and candles are used in every altar of the Day of the Dead. \u003ccite>(Sara Bloomberg/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Oakland Ballet Company: Luna Mexicana\u003c/strong>\u003c/p>\n\u003cp>Where: Paramount Theater, 2025 Broadway, Oakland, CA 94162\u003cbr>\nWhen: Nov. 1 at 7:30 p.m. and Nov. 2 at 4 p.m.\u003cbr>\n\u003ca href=\"http://oaklandballet.org/wp/luna-mexicana/\">More information\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Ehrenber Cellars\u003c/strong>\u003c/p>\n\u003cp>Where: Ehrenber Cellars, 346 Earhart Way, Livermore, CA 94550\u003cbr>\nWhen: Nov. 1 from 4 p.m. to 8 p.m.\u003cbr>\n\u003ca href=\"http://ehrenbergcellars.com/\">More information\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11784189\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11784189\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/10/RS27797_Image-uploaded-from-iOS-9-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS27797_Image-uploaded-from-iOS-9-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS27797_Image-uploaded-from-iOS-9-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS27797_Image-uploaded-from-iOS-9-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS27797_Image-uploaded-from-iOS-9-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS27797_Image-uploaded-from-iOS-9-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS27797_Image-uploaded-from-iOS-9-qut-1832x1374.jpg 1832w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS27797_Image-uploaded-from-iOS-9-qut-1376x1032.jpg 1376w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS27797_Image-uploaded-from-iOS-9-qut-1044x783.jpg 1044w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS27797_Image-uploaded-from-iOS-9-qut-632x474.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/10/2019/10/RS27797_Image-uploaded-from-iOS-9-qut-536x402.jpg 536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Traditional Mexican altar for El Dia de los Muertos celebration. \u003ccite>(Tiffany Camhi/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch1>North Bay\u003c/h1>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Napa Valley Latino Heritage: El Día de los Muertos Napa Celebration\u003c/strong>\u003c/p>\n\u003cp>Where: Boys’ & Girls’ Club of Napa, 1515 Pueblo Ave., Napa, CA 94558\u003cbr>\nWhen: Nov. 2 from 1 p.m. to 8 p.m.\u003cbr>\n\u003ca href=\"https://www.facebook.com/events/510383596474757/?active_tab=about\">More information\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Day of the Dead San Rafael: Día de los Muertos\u003c/strong>\u003c/p>\n\u003cp>Where: Albert J. Boro Community Center, 50 Canal St., San Rafael, CA 94901\u003cbr>\nWhen: Nov. 2 from 3 p.m. to 9 p.m.\u003cbr>\n\u003ca href=\"https://dayofthedeadsr.org/\">More information\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11784119\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11784119\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/10/28131281788_d59c5f4164_k-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Day of the Dead Celebration \u003ccite>(Courtesy of the Children's Discovery Museum of San Jose)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch1>South Bay\u003c/h1>\n\u003cp>\u003cstrong>The Children’s Discovery Museum of San Jose\u003c/strong>\u003c/p>\n\u003cp>Where: Children’s Discovery Museum of San Jose, 180 Woz Way San Jose, CA 95110\u003cbr>\nWhen: Nov. 3 from 12 p.m. to 4 p.m.\u003cbr>\n\u003ca href=\"https://www.cdm.org/event/dia-de-los-muertos-5/\">More information\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>“Día de los Muertos Celebration” by San Mateo County Parks\u003c/strong>\u003c/p>\n\u003cp>Where: Friendship Park, 290 Huntigton Ave., Redwood City, CA 94063\u003cbr>\nWhen: Nov. 2 from 9 a.m. to 11 a.m.\u003cbr>\n\u003ca href=\"https://parks.smcgov.org/d%C3%ADa-de-los-muertos-celebration\">More information\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "A High School Reunion for Iranian Americans, 40 Years After the Revolution",
"title": "A High School Reunion for Iranian Americans, 40 Years After the Revolution",
"headTitle": "The California Report Magazine | KQED News",
"content": "\u003cp>On a warm fall evening at the Bel Air Crest Clubhouse in Los Angeles, Mandana Vassigh put the finishing touches on displays of fruits and pastries, high school mementos and a glittering sign that read “1977.” Before long, guests arrived in cocktail attire and greeted each other with a kiss on each cheek, giggling and giddy.\u003c/p>\n\u003cp>But this was not a typical school reunion: Just as this group of students was graduating from high school in Iran, their country was gripped by revolutionary riots. Most of them fled the country as the monarchy was overthrown and Iran came under the rule of an Islamic theocracy.\u003c/p>\n\u003cp>Now, on the 40th anniversary of the Iranian revolution, these former classmates said that this reunion — their first in 42 years — took them back to a time and place that felt like a world away.\u003c/p>\n\u003cp>“We've been together since kindergarten,” said Vassigh, one of the reunion's organizers. “How many people do you know that are lucky enough to still be friends with their kindergarten friends?”\u003c/p>\n\u003cfigure id=\"attachment_11781514\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11781514\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/10/RS39650_img_0078-qut-800x533.jpg\" alt=\"Former Ettefagh School classmates settled around the United States, Canada, and Israel after leaving Iran around the time of the 1979 Islamic Revolution. On Sept. 1, 2019, about 50 alumni came from around the world to attend their first formal high school reunion in 42 years.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/10/RS39650_img_0078-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/10/RS39650_img_0078-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/10/RS39650_img_0078-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/10/RS39650_img_0078-qut.jpg 1101w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former Ettefagh School classmates settled around the United States, Canada and Israel after leaving Iran around the time of the 1979 Islamic Revolution. On Sept. 1, 2019, about 50 alumni came from around the world to attend their first formal high school reunion in 42 years. \u003ccite>(Courtesy of Pirooz Abir)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>'Iran is What You See Here Tonight'\u003c/h3>\n\u003cp>The air was thick with Middle Eastern party music and the thrill of childhood nostalgia as a screen projected black-and-white photos of the alumni during their school days in Iran.\u003c/p>\n\u003cp>All of the 50 or so partygoers attended Ettefagh School, a private Iranian Jewish school that spanned kindergarten through 12th grade. And full disclosure: I know about it because my mom attended high school there, although she was not part of this graduating class.\u003c/p>\n\u003cp>Ettefagh was established by Iraqi Jews as a gift to the Iranian Jewish community in Tehran. During the 1970s the school, which promoted a strong English-language curriculum, became one of the city's most prestigious schools.\u003c/p>\n\u003cfigure id=\"attachment_11781525\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11781525\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/10/RS39655_69581323_10212243496476380_7274339319861477376_n-qut-1-800x504.jpg\" alt=\"Old black-and-white photos from Ettefagh School were projected during the class of '77 reunion on Sept. 1, 2019\" width=\"800\" height=\"504\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/10/RS39655_69581323_10212243496476380_7274339319861477376_n-qut-1-800x504.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/10/RS39655_69581323_10212243496476380_7274339319861477376_n-qut-1-160x101.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/10/RS39655_69581323_10212243496476380_7274339319861477376_n-qut-1.jpg 943w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Old black-and-white photos from Ettefagh School were projected during the class of '77 reunion on Sept. 1, 2019 \u003ccite>(Courtesy of Pirooz Abir)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The school was as much about community as it was about academics. In Farsi, b’Ettefagh means “together.\"\u003c/p>\n\u003cp>“I'm actually a good example of that,” said Vassigh, who is Muslim. She explained that in a country where Jews and Muslims rarely integrated, Ettefagh was a place where cultural differences didn’t matter.\u003c/p>\n\u003cp>“I even carried the Torah in morning prayers when we went to the temple,” she said. “It was just my love and passion for my friends. I never thought of them being Jewish or Muslim, or rich or poor. We were just friends.”\u003c/p>\n\u003cp>In fact, Ettefagh had students from all of Iran’s religious minorities, including Christian, Baha'i, and Zoroastrian.\u003c/p>\n\u003cfigure id=\"attachment_11781420\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11781420 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/10/RS39640_IMG_0225-qut-800x600.jpg\" alt=\"The reunion slideshow included photos of Jewish students in pre-Revolution Iran. At the time, Ettefagh School had a synagogue in the school, where both Jewish and non-Jewish students attended morning prayers together.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/10/RS39640_IMG_0225-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/10/RS39640_IMG_0225-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/10/RS39640_IMG_0225-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2019/10/RS39640_IMG_0225-qut-536x402.jpg 536w, https://ww2.kqed.org/app/uploads/sites/10/2019/10/RS39640_IMG_0225-qut.jpg 991w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The reunion slideshow included photos of Jewish students in pre-revolution Iran. At the time, Ettefagh School had a synagogue, where both Jewish and non-Jewish students attended morning prayers together. \u003ccite>(Courtesy of Pirooz Abir)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I just want you to recognize the diversity that you don't see from how intimate we are with each other,” said Mariam Arian, who flew in for the reunion from Houston, Texas. “We love each other through and through, and we're here for each other through thick and thin, despite all our differences. The amazing thing is that we all claim to be Iranian, and we \u003cem>are\u003c/em> Iranian. Iran is what you see here tonight.”\u003c/p>\n\u003cp>Ettefagh was also one of the few coed schools in the whole country. Arian credits that egalitarian approach for inspiring her and her female friends to pursue high-achieving careers.\u003c/p>\n\u003cfigure id=\"attachment_11781145\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11781145 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/10/RS39589_70940997_10218710260135138_3773080502693527552_n-qut-800x533.jpg\" alt=\"Mariam Arian with her childhood friends at Ettefagh School class of '77 reunion on Sept. 1, 2019.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/10/RS39589_70940997_10218710260135138_3773080502693527552_n-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/10/RS39589_70940997_10218710260135138_3773080502693527552_n-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/10/RS39589_70940997_10218710260135138_3773080502693527552_n-qut.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mariam Arian (far right) with her childhood friends at Ettefagh School class of '77 reunion on Sept. 1, 2019. \u003ccite>(Courtesy of Yoni Coen/YAC Attack Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Men and women were raised side by side with the same level of expectation,” Arian said. “Just because we were women, we weren’t granted this pass like, ‘Oh you’re [just] going to get married.’ We were very competitive, and very studious.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch3>'It Was Really Hard to Leave'\u003c/h3>\n\u003cp>Later in the evening, both students and former teachers — some now in their 90s — took the stage to share memories from their past. One alum recalled the pranks he and his friends pulled on the art teacher in attendance. In a private moment, another alum caught a glimpse of his very first crush, whom he hadn’t seen in 42 years.\u003c/p>\n\u003cp>“Oh, she’s right there. With the white dress,” he said. “She’s beautiful. She hasn’t changed.”\u003c/p>\n\u003cp>Before I could get his name, he ran off to profess his love.\u003c/p>\n\u003cp>“Iran was just a good place at the time,” remembered comedian and filmmaker Fariborz Davoodian. “It was really hard to leave all of that behind.”\u003c/p>\n\u003cp>Davoodian transferred to a high school in the United States before the revolution to avoid the mandatory draft.\u003c/p>\n\u003cp>“Sometimes I tell myself ‘I’ve been here 40-plus years. Why do I care so much?’\" he said. \"I care because I was born there, and Farsi is my first language, and my ancestors were all Persian. And I remember Iran the way it was and I see the Iran of today, and it’s a tragedy to me.”\u003c/p>\n\u003cp>A few people from the class of '77 chose to stay in Iran, like one woman who works as a doctor there. She didn’t want to use her name because of safety concerns about talking to Western media. She said it was important for her to attend the reunion despite the Trump administration's travel restrictions, and that she was able to come using a U.S. visa after stopping in Canada.\u003c/p>\n\u003cp>“I think that these people are the most important ones in my life,” she said with a laugh. “It was a time that we were so pure, so kind. It was just friendship, nothing else. [We were] like sisters and brothers, and it was amazing. Now it is more amazing to see each other.”\u003c/p>\n\u003cfigure id=\"attachment_11781410\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11781410\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/10/RS39635_IMG_0324-qut-800x561.jpg\" alt=\"A photo featured in the alumni slideshow. The class of '77 was one of the last graduating classes to attend Ettefagh School before the Iranian Revolution. Later Ettefagh became an all-girls school and is now run by the government.\" width=\"800\" height=\"561\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/10/RS39635_IMG_0324-qut-800x561.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/10/RS39635_IMG_0324-qut-160x112.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/10/RS39635_IMG_0324-qut.jpg 991w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A photo featured in the alumni slideshow. The class of '77 was one of the last graduating classes to attend Ettefagh School before the Iranian Revolution. Later Ettefagh became an all-girls school and is now run by the government. \u003ccite>(Courtesy of Pirooz Abir)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>'Today Is Just the Celebration of That Memory'\u003c/h3>\n\u003cp>The doctor who stayed in Iran lost contact with many of her friends until recently, when she got back in touch with classmate Morris Shamouni. He had started a networking group on the messaging platform WhatsApp last Christmas Eve, and within days had tracked down the entire class of ‘77.\u003c/p>\n\u003cp>Like many of his Jewish classmates, Shamouni left Iran for fear of religious persecution.\u003c/p>\n\u003cp>“When I left Iran in 1977, if you would have told me that in 42 years I would be living in the United States, having my own business, even have a family here, I would have laughed,” he said.\u003c/p>\n\u003cp>Today, Shamouni lives in Los Angeles, but he still carries the memory of the streets of Tehran where he used to play soccer, and the people from the corner store where he’d pick up groceries for his mom.\u003c/p>\n\u003cp>“We had a real connection to that community, which I carry that with me on a continuous basis,” Shamouni said. “That's my Iran and that's my country. And those are my people.”\u003c/p>\n\u003cfigure id=\"attachment_11781411\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11781411\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/10/RS39636_70096460_10218710248534848_4054737779291062272_n-qut-800x533.jpg\" alt=\"Mandana Vassigh and Morris Shamouni were the main organizers of the Ettefagh School class of '77 reunion, held in Los Angeles on Sept. 1, 2019.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/10/RS39636_70096460_10218710248534848_4054737779291062272_n-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/10/RS39636_70096460_10218710248534848_4054737779291062272_n-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/10/RS39636_70096460_10218710248534848_4054737779291062272_n-qut.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mandana Vassigh and Morris Shamouni were the main organizers of the Ettefagh School class of '77 reunion, held in Los Angeles on Sept. 1, 2019. \u003ccite>(Courtesy of Yoni Coen/YAC Attack Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the Iran of today is unrecognizable, so is Ettefagh. It’s still a Jewish school, but it’s an all-girls school and run by the government. Shamouni said that in a way, the reunion was the closest thing to going back in time.\u003c/p>\n\u003cp>“We are still living with the memory of what we experienced then, and today actually is just the celebration of that memory.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Forty-two years after graduating from Ettefagh High in Iran, the class of '77 gathered in Los Angeles to remember pre-revolution Iran and life at a coed school that championed religious diversity and a strong English-language curriculum.",
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"description": "Forty-two years after graduating from Ettefagh High in Iran, the class of '77 gathered in Los Angeles to remember pre-revolution Iran and life at a coed school that championed religious diversity and a strong English-language curriculum.",
"title": "A High School Reunion for Iranian Americans, 40 Years After the Revolution | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a warm fall evening at the Bel Air Crest Clubhouse in Los Angeles, Mandana Vassigh put the finishing touches on displays of fruits and pastries, high school mementos and a glittering sign that read “1977.” Before long, guests arrived in cocktail attire and greeted each other with a kiss on each cheek, giggling and giddy.\u003c/p>\n\u003cp>But this was not a typical school reunion: Just as this group of students was graduating from high school in Iran, their country was gripped by revolutionary riots. Most of them fled the country as the monarchy was overthrown and Iran came under the rule of an Islamic theocracy.\u003c/p>\n\u003cp>Now, on the 40th anniversary of the Iranian revolution, these former classmates said that this reunion — their first in 42 years — took them back to a time and place that felt like a world away.\u003c/p>\n\u003cp>“We've been together since kindergarten,” said Vassigh, one of the reunion's organizers. “How many people do you know that are lucky enough to still be friends with their kindergarten friends?”\u003c/p>\n\u003cfigure id=\"attachment_11781514\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11781514\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/10/RS39650_img_0078-qut-800x533.jpg\" alt=\"Former Ettefagh School classmates settled around the United States, Canada, and Israel after leaving Iran around the time of the 1979 Islamic Revolution. On Sept. 1, 2019, about 50 alumni came from around the world to attend their first formal high school reunion in 42 years.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/10/RS39650_img_0078-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/10/RS39650_img_0078-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/10/RS39650_img_0078-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2019/10/RS39650_img_0078-qut.jpg 1101w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former Ettefagh School classmates settled around the United States, Canada and Israel after leaving Iran around the time of the 1979 Islamic Revolution. On Sept. 1, 2019, about 50 alumni came from around the world to attend their first formal high school reunion in 42 years. \u003ccite>(Courtesy of Pirooz Abir)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>'Iran is What You See Here Tonight'\u003c/h3>\n\u003cp>The air was thick with Middle Eastern party music and the thrill of childhood nostalgia as a screen projected black-and-white photos of the alumni during their school days in Iran.\u003c/p>\n\u003cp>All of the 50 or so partygoers attended Ettefagh School, a private Iranian Jewish school that spanned kindergarten through 12th grade. And full disclosure: I know about it because my mom attended high school there, although she was not part of this graduating class.\u003c/p>\n\u003cp>Ettefagh was established by Iraqi Jews as a gift to the Iranian Jewish community in Tehran. During the 1970s the school, which promoted a strong English-language curriculum, became one of the city's most prestigious schools.\u003c/p>\n\u003cfigure id=\"attachment_11781525\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11781525\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/10/RS39655_69581323_10212243496476380_7274339319861477376_n-qut-1-800x504.jpg\" alt=\"Old black-and-white photos from Ettefagh School were projected during the class of '77 reunion on Sept. 1, 2019\" width=\"800\" height=\"504\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/10/RS39655_69581323_10212243496476380_7274339319861477376_n-qut-1-800x504.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/10/RS39655_69581323_10212243496476380_7274339319861477376_n-qut-1-160x101.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/10/RS39655_69581323_10212243496476380_7274339319861477376_n-qut-1.jpg 943w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Old black-and-white photos from Ettefagh School were projected during the class of '77 reunion on Sept. 1, 2019 \u003ccite>(Courtesy of Pirooz Abir)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The school was as much about community as it was about academics. In Farsi, b’Ettefagh means “together.\"\u003c/p>\n\u003cp>“I'm actually a good example of that,” said Vassigh, who is Muslim. She explained that in a country where Jews and Muslims rarely integrated, Ettefagh was a place where cultural differences didn’t matter.\u003c/p>\n\u003cp>“I even carried the Torah in morning prayers when we went to the temple,” she said. “It was just my love and passion for my friends. I never thought of them being Jewish or Muslim, or rich or poor. We were just friends.”\u003c/p>\n\u003cp>In fact, Ettefagh had students from all of Iran’s religious minorities, including Christian, Baha'i, and Zoroastrian.\u003c/p>\n\u003cfigure id=\"attachment_11781420\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11781420 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/10/RS39640_IMG_0225-qut-800x600.jpg\" alt=\"The reunion slideshow included photos of Jewish students in pre-Revolution Iran. At the time, Ettefagh School had a synagogue in the school, where both Jewish and non-Jewish students attended morning prayers together.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/10/RS39640_IMG_0225-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/10/RS39640_IMG_0225-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/10/RS39640_IMG_0225-qut-632x474.jpg 632w, https://ww2.kqed.org/app/uploads/sites/10/2019/10/RS39640_IMG_0225-qut-536x402.jpg 536w, https://ww2.kqed.org/app/uploads/sites/10/2019/10/RS39640_IMG_0225-qut.jpg 991w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The reunion slideshow included photos of Jewish students in pre-revolution Iran. At the time, Ettefagh School had a synagogue, where both Jewish and non-Jewish students attended morning prayers together. \u003ccite>(Courtesy of Pirooz Abir)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I just want you to recognize the diversity that you don't see from how intimate we are with each other,” said Mariam Arian, who flew in for the reunion from Houston, Texas. “We love each other through and through, and we're here for each other through thick and thin, despite all our differences. The amazing thing is that we all claim to be Iranian, and we \u003cem>are\u003c/em> Iranian. Iran is what you see here tonight.”\u003c/p>\n\u003cp>Ettefagh was also one of the few coed schools in the whole country. Arian credits that egalitarian approach for inspiring her and her female friends to pursue high-achieving careers.\u003c/p>\n\u003cfigure id=\"attachment_11781145\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11781145 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/10/RS39589_70940997_10218710260135138_3773080502693527552_n-qut-800x533.jpg\" alt=\"Mariam Arian with her childhood friends at Ettefagh School class of '77 reunion on Sept. 1, 2019.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/10/RS39589_70940997_10218710260135138_3773080502693527552_n-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/10/RS39589_70940997_10218710260135138_3773080502693527552_n-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/10/RS39589_70940997_10218710260135138_3773080502693527552_n-qut.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mariam Arian (far right) with her childhood friends at Ettefagh School class of '77 reunion on Sept. 1, 2019. \u003ccite>(Courtesy of Yoni Coen/YAC Attack Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Men and women were raised side by side with the same level of expectation,” Arian said. “Just because we were women, we weren’t granted this pass like, ‘Oh you’re [just] going to get married.’ We were very competitive, and very studious.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch3>'It Was Really Hard to Leave'\u003c/h3>\n\u003cp>Later in the evening, both students and former teachers — some now in their 90s — took the stage to share memories from their past. One alum recalled the pranks he and his friends pulled on the art teacher in attendance. In a private moment, another alum caught a glimpse of his very first crush, whom he hadn’t seen in 42 years.\u003c/p>\n\u003cp>“Oh, she’s right there. With the white dress,” he said. “She’s beautiful. She hasn’t changed.”\u003c/p>\n\u003cp>Before I could get his name, he ran off to profess his love.\u003c/p>\n\u003cp>“Iran was just a good place at the time,” remembered comedian and filmmaker Fariborz Davoodian. “It was really hard to leave all of that behind.”\u003c/p>\n\u003cp>Davoodian transferred to a high school in the United States before the revolution to avoid the mandatory draft.\u003c/p>\n\u003cp>“Sometimes I tell myself ‘I’ve been here 40-plus years. Why do I care so much?’\" he said. \"I care because I was born there, and Farsi is my first language, and my ancestors were all Persian. And I remember Iran the way it was and I see the Iran of today, and it’s a tragedy to me.”\u003c/p>\n\u003cp>A few people from the class of '77 chose to stay in Iran, like one woman who works as a doctor there. She didn’t want to use her name because of safety concerns about talking to Western media. She said it was important for her to attend the reunion despite the Trump administration's travel restrictions, and that she was able to come using a U.S. visa after stopping in Canada.\u003c/p>\n\u003cp>“I think that these people are the most important ones in my life,” she said with a laugh. “It was a time that we were so pure, so kind. It was just friendship, nothing else. [We were] like sisters and brothers, and it was amazing. Now it is more amazing to see each other.”\u003c/p>\n\u003cfigure id=\"attachment_11781410\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11781410\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/10/RS39635_IMG_0324-qut-800x561.jpg\" alt=\"A photo featured in the alumni slideshow. The class of '77 was one of the last graduating classes to attend Ettefagh School before the Iranian Revolution. Later Ettefagh became an all-girls school and is now run by the government.\" width=\"800\" height=\"561\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/10/RS39635_IMG_0324-qut-800x561.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/10/RS39635_IMG_0324-qut-160x112.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/10/RS39635_IMG_0324-qut.jpg 991w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A photo featured in the alumni slideshow. The class of '77 was one of the last graduating classes to attend Ettefagh School before the Iranian Revolution. Later Ettefagh became an all-girls school and is now run by the government. \u003ccite>(Courtesy of Pirooz Abir)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>'Today Is Just the Celebration of That Memory'\u003c/h3>\n\u003cp>The doctor who stayed in Iran lost contact with many of her friends until recently, when she got back in touch with classmate Morris Shamouni. He had started a networking group on the messaging platform WhatsApp last Christmas Eve, and within days had tracked down the entire class of ‘77.\u003c/p>\n\u003cp>Like many of his Jewish classmates, Shamouni left Iran for fear of religious persecution.\u003c/p>\n\u003cp>“When I left Iran in 1977, if you would have told me that in 42 years I would be living in the United States, having my own business, even have a family here, I would have laughed,” he said.\u003c/p>\n\u003cp>Today, Shamouni lives in Los Angeles, but he still carries the memory of the streets of Tehran where he used to play soccer, and the people from the corner store where he’d pick up groceries for his mom.\u003c/p>\n\u003cp>“We had a real connection to that community, which I carry that with me on a continuous basis,” Shamouni said. “That's my Iran and that's my country. And those are my people.”\u003c/p>\n\u003cfigure id=\"attachment_11781411\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11781411\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/10/RS39636_70096460_10218710248534848_4054737779291062272_n-qut-800x533.jpg\" alt=\"Mandana Vassigh and Morris Shamouni were the main organizers of the Ettefagh School class of '77 reunion, held in Los Angeles on Sept. 1, 2019.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2019/10/RS39636_70096460_10218710248534848_4054737779291062272_n-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2019/10/RS39636_70096460_10218710248534848_4054737779291062272_n-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2019/10/RS39636_70096460_10218710248534848_4054737779291062272_n-qut.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mandana Vassigh and Morris Shamouni were the main organizers of the Ettefagh School class of '77 reunion, held in Los Angeles on Sept. 1, 2019. \u003ccite>(Courtesy of Yoni Coen/YAC Attack Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the Iran of today is unrecognizable, so is Ettefagh. It’s still a Jewish school, but it’s an all-girls school and run by the government. Shamouni said that in a way, the reunion was the closest thing to going back in time.\u003c/p>\n\u003cp>“We are still living with the memory of what we experienced then, and today actually is just the celebration of that memory.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
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