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"content": "\u003cp>For decades, Telegraph Avenue has been the Boulevard of Unconventional Berkeley — a bohemian enclave, then the Free Speech Movement, anti-Vietnam War, People’s Park, hippies, punks, street people. Before the Big Changes of the late 1960s, on Telegraph you could buy out-of-town and foreign-language newspapers, croissants, espresso drinks, Turkish cigarettes and Gauloises.\u003c/p>\n\u003cp>You could watch foreign-language films at the Cinema Guild and Cinema Studio, and read what Pauline Kael had to say about the movies, and play chess, and everywhere was baroque music and folk music. There were boutiques and haberdasheries and art galleries and mom-and-pop grocery stores. And the used bookstores! What a world! We were Athens, this was our Bleecker Street, our Boulevard Saint-Michel with a touch, perhaps, of Bourbon Street and Dylan’s Desolation Row.\u003c/p>\n\u003cp>And then came the Big Changes. Telegraph became a battlefield in the late 1960s, literally and culturally. Telegraph Avenue between Haste Street and Dwight Way was the epicenter of countercultural change in Berkeley, and there exists a striking photographic documentation of that block at that time by Nacio Jan Brown.\u003c/p>\n\u003cp>Brown arrived in Berkeley as a freshman at Cal in the fall of 1960. In 1965, he started to photograph Berkeley in earnest. …\u003c/p>\n\u003cp>Many of Brown’s photographs documenting life on Telegraph Avenue were taken from the Med shooting across to the Rag Theatre clothing store, street level of an apartment house known not just a little facetiously as the Telegraph Hilton. His modus operandi was to arrive on the Avenue before the young people. He became part of the scene, not an outsider photographing it.\u003c/p>\n\u003cfigure id=\"attachment_10931226\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/Three-girls-720x460.png\" rel=\"attachment wp-att-10931226\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/Three-girls-720x460.png\" alt=\"Many of the photographs were of young teens who called themselves the Red Rockets and their youth auxiliary, the Mini Mob. Their classroom was Telegraph Avenue. Their family was each other.\" width=\"720\" height=\"460\" class=\"size-full wp-image-10931226\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/04/Three-girls-720x460.png 720w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/04/Three-girls-720x460-400x256.png 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Many of the photographs were of young teens who called themselves the Red Rockets and their youth auxiliary, the Mini Mob. Their classroom was Telegraph Avenue. Their family was each other. \u003ccite>(Nacio Jan Brown via Berkeleyside)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown stopped shooting on Telegraph in 1973. He was exhausted. “There came a time when I just couldn’t shoot anymore.” Things were getting ugly. He continued having coffee at the Med regularly until the early 1980s, and then stopped going to Telegraph at all. Too ugly, too sad. Hard drugs and exploitation had slowly supplanted marijuana and hope/joy, even as he was shooting the block. The kids of Telegraph moved on. Many died young, way too many, casually disappearing. Some thrived in life, and look back on the years on Telegraph with appreciation and fondness. Some struggle still.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Read the full story and view more of Nacio Jan Brown’s photographs at Berkeleyside:\u003c/em>\u003cbr>\n\u003ca href=\"http://www.berkeleyside.com/2016/04/14/how-quirky-was-berkeley-the-riches-of-rag-theater/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>The Riches of Rag Theater: Nacio Jan Brown’s Berkeley\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tom Dalzell, a labor lawyer, created a website, \u003ca href=\"http://quirkyberkeley.com/\" target=\"_blank\" rel=\"noopener\">Quirky Berkeley\u003c/a>, to share all the whimsical local objects he has captured with his iPhone. The site now has more than 8,000 photographs of quirky objects around town as well as posts where the 30-year resident muses on what it all means.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Nacio Jan Brown captured hundreds of portraits of Berkeley's Telegraph Avenue during the flowering, and wilting, of the 1960s and early '70s.",
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"nprByline": "\u003cstrong>\u003ca href=\"http://www.berkeleyside.com/author/tomdalzell/\" target=\"_blank\">Tom Dalzell\u003c/a>\u003cbr />Berkeleyside\u003c/strong>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For decades, Telegraph Avenue has been the Boulevard of Unconventional Berkeley — a bohemian enclave, then the Free Speech Movement, anti-Vietnam War, People’s Park, hippies, punks, street people. Before the Big Changes of the late 1960s, on Telegraph you could buy out-of-town and foreign-language newspapers, croissants, espresso drinks, Turkish cigarettes and Gauloises.\u003c/p>\n\u003cp>You could watch foreign-language films at the Cinema Guild and Cinema Studio, and read what Pauline Kael had to say about the movies, and play chess, and everywhere was baroque music and folk music. There were boutiques and haberdasheries and art galleries and mom-and-pop grocery stores. And the used bookstores! What a world! We were Athens, this was our Bleecker Street, our Boulevard Saint-Michel with a touch, perhaps, of Bourbon Street and Dylan’s Desolation Row.\u003c/p>\n\u003cp>And then came the Big Changes. Telegraph became a battlefield in the late 1960s, literally and culturally. Telegraph Avenue between Haste Street and Dwight Way was the epicenter of countercultural change in Berkeley, and there exists a striking photographic documentation of that block at that time by Nacio Jan Brown.\u003c/p>\n\u003cp>Brown arrived in Berkeley as a freshman at Cal in the fall of 1960. In 1965, he started to photograph Berkeley in earnest. …\u003c/p>\n\u003cp>Many of Brown’s photographs documenting life on Telegraph Avenue were taken from the Med shooting across to the Rag Theatre clothing store, street level of an apartment house known not just a little facetiously as the Telegraph Hilton. His modus operandi was to arrive on the Avenue before the young people. He became part of the scene, not an outsider photographing it.\u003c/p>\n\u003cfigure id=\"attachment_10931226\" class=\"wp-caption aligncenter\" style=\"max-width: 720px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/Three-girls-720x460.png\" rel=\"attachment wp-att-10931226\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/04/Three-girls-720x460.png\" alt=\"Many of the photographs were of young teens who called themselves the Red Rockets and their youth auxiliary, the Mini Mob. Their classroom was Telegraph Avenue. Their family was each other.\" width=\"720\" height=\"460\" class=\"size-full wp-image-10931226\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/04/Three-girls-720x460.png 720w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/04/Three-girls-720x460-400x256.png 400w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Many of the photographs were of young teens who called themselves the Red Rockets and their youth auxiliary, the Mini Mob. Their classroom was Telegraph Avenue. Their family was each other. \u003ccite>(Nacio Jan Brown via Berkeleyside)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown stopped shooting on Telegraph in 1973. He was exhausted. “There came a time when I just couldn’t shoot anymore.” Things were getting ugly. He continued having coffee at the Med regularly until the early 1980s, and then stopped going to Telegraph at all. Too ugly, too sad. Hard drugs and exploitation had slowly supplanted marijuana and hope/joy, even as he was shooting the block. The kids of Telegraph moved on. Many died young, way too many, casually disappearing. Some thrived in life, and look back on the years on Telegraph with appreciation and fondness. Some struggle still.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Read the full story and view more of Nacio Jan Brown’s photographs at Berkeleyside:\u003c/em>\u003cbr>\n\u003ca href=\"http://www.berkeleyside.com/2016/04/14/how-quirky-was-berkeley-the-riches-of-rag-theater/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>The Riches of Rag Theater: Nacio Jan Brown’s Berkeley\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tom Dalzell, a labor lawyer, created a website, \u003ca href=\"http://quirkyberkeley.com/\" target=\"_blank\" rel=\"noopener\">Quirky Berkeley\u003c/a>, to share all the whimsical local objects he has captured with his iPhone. The site now has more than 8,000 photographs of quirky objects around town as well as posts where the 30-year resident muses on what it all means.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>One of the largest map collections in the country is about to open at Stanford. \u003ca href=\"http://rumseymapcenter.stanford.edu\" target=\"_blank\" rel=\"noopener noreferrer\">The David Rumsey Map Center \u003c/a>is not just big in size, with more than 150,000 items, including rare first editions. It’s also accessible world-wide because many of the maps have been digitized; more than 67,000 items.\u003c/p>\n\u003cp>Retired real estate developer David Rumsey has been obsessed with maps since he was a small boy, and he’s been collecting for more than three decades. “I like modern maps, I like old maps,” Rumsey says. “I just find them fascinating. They’re art. They’re science. They’re history. All of those things.”\u003c/p>\n\u003cp>Rumsey has donated his entire collection to Stanford. It includes atlases, wall maps, globes, maritime charts, and even children’s maps made for school assignments. Highlights include a 19th century Jain cosmological diagram hand-painted on cloth, a leather-bound book considered to be the first true world atlas, \u003cem>\u003ca href=\"http://bit.ly/23BAHaS\" target=\"_blank\" rel=\"noopener noreferrer\">Theatrum Orbis Terrarum\u003c/a>\u003c/em>\u003cem> \u003c/em>\u003cem>(1570),\u003c/em> and a map from the first published edition of \u003cem>Meriwether Lewis and William Clark’s Account of the Expedition\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_11496990\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11496990\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19167_br999hw44402F3493001-qut-800x374.jpg\" alt=\"A Map of Lewis and Clark's Track, Across the Western Portion of North America From the Mississippi to the Pacific Ocean (1814). The map was copied by Samuel Lewis from William Clark's original drawing, and was engraved by Samuel Harrison.\" width=\"800\" height=\"374\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19167_br999hw44402F3493001-qut-800x374.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19167_br999hw44402F3493001-qut-400x187.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19167_br999hw44402F3493001-qut-768x359.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19167_br999hw44402F3493001-qut-1180x552.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19167_br999hw44402F3493001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19167_br999hw44402F3493001-qut-960x449.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Map of Lewis and Clark’s Track, Across the Western Portion of North America From the Mississippi to the Pacific Ocean (1814). The map was copied by Samuel Lewis from William Clark’s original drawing, and was engraved by Samuel Harrison. \u003ccite>(Photo: Courtesy of The David Rumsey Map Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other map collections are represented at the center, including Glen McLaughlin’s \u003cem>\u003ca href=\"https://exhibits.stanford.edu/california-as-an-island\" target=\"_blank\" rel=\"noopener noreferrer\">California as an Island\u003c/a>\u003c/em>, which tells the story of a \u003ca href=\"http://ww2.kqed.org/news/2013/04/01/when-california-was-an-island\" target=\"_blank\" rel=\"noopener noreferrer\">long-cherished misconception\u003c/a> about California held by European map makers when the New World was still largely\u003cem> terra incognita \u003c/em>to them\u003cem>. \u003c/em>\u003c/p>\n\u003cp>Rumsey says he picked Stanford over other potential libraries because he didn’t want his maps locked away in dusty archives.\u003cstrong> \u003c/strong>“In the past, these kinds of collections were more about preservation, which is good, very admirable,” Rumsey says. “But we would like to change that paradigm.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Digital revolution makes collections more accessible \u003c/strong>\u003c/p>\n\u003cp>A growing number of major map repositories have signed onto what’s known as the \u003ca href=\"http://iiif.io/\" target=\"_blank\" rel=\"noopener noreferrer\">International Image Interoperability Framework\u003c/a>. It’s a system that enables participating institutions to share their collections using compatible software to deliver high resolution images to anyone who asks. As a result of this development, curators everywhere can more easily put together exhibitions without having to physically bring artifacts to their museums. “It doesn’t matter where the actual image is,” says G. Salim Mohammed, the curator who heads the David Rumsey Map Center. “It could be in Europe. It could be in Africa. It could be anywhere there is Internet access.”\u003c/p>\n\u003cp>In addition to curators, the system stands to benefit scholars, school children, environmentalists, artists, and other groups.\u003c/p>\n\u003cp>“Maps in physical form are beautiful, but they’re hard to work with,” says Rumsey. “In digital form, they’re light as a feather.”\u003c/p>\n\u003cp>\u003cstrong>That Said, You Really Should Visit Stanford\u003c/strong>\u003c/p>\n\u003cp>So why go to Green Library, the physical building where the Center is located? For one thing, you’ll want to see the inaugural exhibition, \u003cem>\u003ca href=\"https://exhibits.stanford.edu/david-rumsey-map-collection/feature/a-universe-of-maps-opening-the-david-rumsey-map-center\" target=\"_blank\" rel=\"noopener noreferrer\">A Universe of Maps\u003c/a>\u003c/em> in the Peterson Gallery on the library’s second floor. Massive printouts of the digitized maps from the collection are on the walls, including in the rotunda and in the stairwells. They’re even etched onto the glass doors at the entrance of the center. The sharpness of the detail is stunning. It may take you an hour to make your way into the center itself.\u003c/p>\n\u003cp>Once there, two floor-to-ceiling computer screens immediately capture your attention. One is a 12 x 7′ touch screen, for those big and small who’ve learned to relate to visual images through an iPad. The other screen is 16 x 9′. “These are basically screen savers that we commissioned from \u003ca href=\"http://stamen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Stamen Design\u003c/a> in San Francisco,” Rumsey jokes, just before he shows what you can do with them.\u003c/p>\n\u003cfigure id=\"attachment_11496992\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11496992\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19166_Plan-de-Turgota-qut-750x600.jpg\" alt=\"Plan de Turgota map of Paris (1739). This copy was printed from the original plates in approximately 1860.\" width=\"750\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19166_Plan-de-Turgota-qut-750x600.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19166_Plan-de-Turgota-qut-400x320.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19166_Plan-de-Turgota-qut-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19166_Plan-de-Turgota-qut-1180x944.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19166_Plan-de-Turgota-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19166_Plan-de-Turgota-qut-960x768.jpg 960w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Plan de Turgota map of Paris (1739). This copy was printed from the original plates in approximately 1860. \u003ccite>(Photo: Courtesy of The David Rumsey Map Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not that you can’t zoom in and out, cross fade between maps, and do side-by-side comparisons on your laptop at home. But on a giant screen, you can zoom in to see incredible detail that often goes completely unnoticed when you’re looking at a map as a whole.\u003c/p>\n\u003cp>Rumsey pulls up \u003ca href=\"http://www.davidrumsey.com/luna/servlet/detail/RUMSEY~8~1~287244~90059510:Composite--Paris--Plan-de-Turgot?sort=Pub_List_No_InitialSort%2CPub_Date%2CPub_List_No%2CSeries_No?&qvq=q:paris;sort:Pub_List_No_InitialSort%2CPub_Date%2CPub_List_No%2CSeries_No;lc:RUMSEY~8~1&mi=0&trs=7605\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Plan de Turgot\u003c/em>\u003c/a>, a map of Paris from 1739. “It’s 20 sheets in a book, but we knitted them altogether into one gigantic image,” Rumsey says. On Rumsey’s big screen, you can see a huge amount of detail. “You see all the piles of wood?” Rumsey says. “That’s the heating source for Paris in 1739.” Rumsey clicks around, to show how wood is making its way from outside the city to homes inside. “The man that made this map had permission from the king to go into all the back yards,” Rumsey says. “So he has the gardens. It’s just an extraordinary cultural record. Maps are just like books. They’re filled with all kinds of stories to tell.”\u003c/p>\n\u003cfigure id=\"attachment_11497112\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11497112 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19168_rumsey-qut-800x600.jpg\" alt=\"David Rumsey stands in front of a map from 1733 superimposed over Google Earth. Wouldn't you like to run a search for viewing on a 16 x 9' computer screen?\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19168_rumsey-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19168_rumsey-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19168_rumsey-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19168_rumsey-qut-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19168_rumsey-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19168_rumsey-qut-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Rumsey stands in front of a map from 1733 superimposed over Google Earth. Wouldn’t you like to run a search for viewing on a 16 x 9′ computer screen? \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The David Rumsey Map Center opens for special events Tuesday, Apr. 19. It opens to the public Tuesday, Apr. 25. More info \u003ca href=\"https://events.stanford.edu/events/587/58753/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>\u003c/strong>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the largest map collections in the country is about to open at Stanford. \u003ca href=\"http://rumseymapcenter.stanford.edu\" target=\"_blank\" rel=\"noopener noreferrer\">The David Rumsey Map Center \u003c/a>is not just big in size, with more than 150,000 items, including rare first editions. It’s also accessible world-wide because many of the maps have been digitized; more than 67,000 items.\u003c/p>\n\u003cp>Retired real estate developer David Rumsey has been obsessed with maps since he was a small boy, and he’s been collecting for more than three decades. “I like modern maps, I like old maps,” Rumsey says. “I just find them fascinating. They’re art. They’re science. They’re history. All of those things.”\u003c/p>\n\u003cp>Rumsey has donated his entire collection to Stanford. It includes atlases, wall maps, globes, maritime charts, and even children’s maps made for school assignments. Highlights include a 19th century Jain cosmological diagram hand-painted on cloth, a leather-bound book considered to be the first true world atlas, \u003cem>\u003ca href=\"http://bit.ly/23BAHaS\" target=\"_blank\" rel=\"noopener noreferrer\">Theatrum Orbis Terrarum\u003c/a>\u003c/em>\u003cem> \u003c/em>\u003cem>(1570),\u003c/em> and a map from the first published edition of \u003cem>Meriwether Lewis and William Clark’s Account of the Expedition\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_11496990\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11496990\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19167_br999hw44402F3493001-qut-800x374.jpg\" alt=\"A Map of Lewis and Clark's Track, Across the Western Portion of North America From the Mississippi to the Pacific Ocean (1814). The map was copied by Samuel Lewis from William Clark's original drawing, and was engraved by Samuel Harrison.\" width=\"800\" height=\"374\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19167_br999hw44402F3493001-qut-800x374.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19167_br999hw44402F3493001-qut-400x187.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19167_br999hw44402F3493001-qut-768x359.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19167_br999hw44402F3493001-qut-1180x552.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19167_br999hw44402F3493001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19167_br999hw44402F3493001-qut-960x449.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Map of Lewis and Clark’s Track, Across the Western Portion of North America From the Mississippi to the Pacific Ocean (1814). The map was copied by Samuel Lewis from William Clark’s original drawing, and was engraved by Samuel Harrison. \u003ccite>(Photo: Courtesy of The David Rumsey Map Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other map collections are represented at the center, including Glen McLaughlin’s \u003cem>\u003ca href=\"https://exhibits.stanford.edu/california-as-an-island\" target=\"_blank\" rel=\"noopener noreferrer\">California as an Island\u003c/a>\u003c/em>, which tells the story of a \u003ca href=\"http://ww2.kqed.org/news/2013/04/01/when-california-was-an-island\" target=\"_blank\" rel=\"noopener noreferrer\">long-cherished misconception\u003c/a> about California held by European map makers when the New World was still largely\u003cem> terra incognita \u003c/em>to them\u003cem>. \u003c/em>\u003c/p>\n\u003cp>Rumsey says he picked Stanford over other potential libraries because he didn’t want his maps locked away in dusty archives.\u003cstrong> \u003c/strong>“In the past, these kinds of collections were more about preservation, which is good, very admirable,” Rumsey says. “But we would like to change that paradigm.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Digital revolution makes collections more accessible \u003c/strong>\u003c/p>\n\u003cp>A growing number of major map repositories have signed onto what’s known as the \u003ca href=\"http://iiif.io/\" target=\"_blank\" rel=\"noopener noreferrer\">International Image Interoperability Framework\u003c/a>. It’s a system that enables participating institutions to share their collections using compatible software to deliver high resolution images to anyone who asks. As a result of this development, curators everywhere can more easily put together exhibitions without having to physically bring artifacts to their museums. “It doesn’t matter where the actual image is,” says G. Salim Mohammed, the curator who heads the David Rumsey Map Center. “It could be in Europe. It could be in Africa. It could be anywhere there is Internet access.”\u003c/p>\n\u003cp>In addition to curators, the system stands to benefit scholars, school children, environmentalists, artists, and other groups.\u003c/p>\n\u003cp>“Maps in physical form are beautiful, but they’re hard to work with,” says Rumsey. “In digital form, they’re light as a feather.”\u003c/p>\n\u003cp>\u003cstrong>That Said, You Really Should Visit Stanford\u003c/strong>\u003c/p>\n\u003cp>So why go to Green Library, the physical building where the Center is located? For one thing, you’ll want to see the inaugural exhibition, \u003cem>\u003ca href=\"https://exhibits.stanford.edu/david-rumsey-map-collection/feature/a-universe-of-maps-opening-the-david-rumsey-map-center\" target=\"_blank\" rel=\"noopener noreferrer\">A Universe of Maps\u003c/a>\u003c/em> in the Peterson Gallery on the library’s second floor. Massive printouts of the digitized maps from the collection are on the walls, including in the rotunda and in the stairwells. They’re even etched onto the glass doors at the entrance of the center. The sharpness of the detail is stunning. It may take you an hour to make your way into the center itself.\u003c/p>\n\u003cp>Once there, two floor-to-ceiling computer screens immediately capture your attention. One is a 12 x 7′ touch screen, for those big and small who’ve learned to relate to visual images through an iPad. The other screen is 16 x 9′. “These are basically screen savers that we commissioned from \u003ca href=\"http://stamen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Stamen Design\u003c/a> in San Francisco,” Rumsey jokes, just before he shows what you can do with them.\u003c/p>\n\u003cfigure id=\"attachment_11496992\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11496992\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19166_Plan-de-Turgota-qut-750x600.jpg\" alt=\"Plan de Turgota map of Paris (1739). This copy was printed from the original plates in approximately 1860.\" width=\"750\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19166_Plan-de-Turgota-qut-750x600.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19166_Plan-de-Turgota-qut-400x320.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19166_Plan-de-Turgota-qut-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19166_Plan-de-Turgota-qut-1180x944.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19166_Plan-de-Turgota-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19166_Plan-de-Turgota-qut-960x768.jpg 960w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Plan de Turgota map of Paris (1739). This copy was printed from the original plates in approximately 1860. \u003ccite>(Photo: Courtesy of The David Rumsey Map Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not that you can’t zoom in and out, cross fade between maps, and do side-by-side comparisons on your laptop at home. But on a giant screen, you can zoom in to see incredible detail that often goes completely unnoticed when you’re looking at a map as a whole.\u003c/p>\n\u003cp>Rumsey pulls up \u003ca href=\"http://www.davidrumsey.com/luna/servlet/detail/RUMSEY~8~1~287244~90059510:Composite--Paris--Plan-de-Turgot?sort=Pub_List_No_InitialSort%2CPub_Date%2CPub_List_No%2CSeries_No?&qvq=q:paris;sort:Pub_List_No_InitialSort%2CPub_Date%2CPub_List_No%2CSeries_No;lc:RUMSEY~8~1&mi=0&trs=7605\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Plan de Turgot\u003c/em>\u003c/a>, a map of Paris from 1739. “It’s 20 sheets in a book, but we knitted them altogether into one gigantic image,” Rumsey says. On Rumsey’s big screen, you can see a huge amount of detail. “You see all the piles of wood?” Rumsey says. “That’s the heating source for Paris in 1739.” Rumsey clicks around, to show how wood is making its way from outside the city to homes inside. “The man that made this map had permission from the king to go into all the back yards,” Rumsey says. “So he has the gardens. It’s just an extraordinary cultural record. Maps are just like books. They’re filled with all kinds of stories to tell.”\u003c/p>\n\u003cfigure id=\"attachment_11497112\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11497112 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19168_rumsey-qut-800x600.jpg\" alt=\"David Rumsey stands in front of a map from 1733 superimposed over Google Earth. Wouldn't you like to run a search for viewing on a 16 x 9' computer screen?\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19168_rumsey-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19168_rumsey-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19168_rumsey-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19168_rumsey-qut-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19168_rumsey-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19168_rumsey-qut-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Rumsey stands in front of a map from 1733 superimposed over Google Earth. Wouldn’t you like to run a search for viewing on a 16 x 9′ computer screen? \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The David Rumsey Map Center opens for special events Tuesday, Apr. 19. It opens to the public Tuesday, Apr. 25. More info \u003ca href=\"https://events.stanford.edu/events/587/58753/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>\u003c/strong>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "quilts-help-transform-east-palo-altos-cooley-landing-from-toxic-dump-to-beauty-spot",
"title": "Quilts Help Stitch Together New Perception of East Palo Alto's Cooley Landing",
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"headTitle": "Quilts Help Stitch Together New Perception of East Palo Alto’s Cooley Landing | KQED",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://cityofepa.org/?nid=446\" target=\"_blank\" rel=\"noopener\">Cooley Landing\u003c/a>, on the shores of East Palo Alto, has been used and abused over the last century. It was even the San Mateo County \u003c/span>\u003cspan style=\"font-weight: 400\">dump\u003c/span>\u003ci>\u003c/i>\u003cspan style=\"font-weight: 400\">for a couple of decades. But a local environmental artist is helping community members feel like the site belongs to them now\u003c/span>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\n\u003cp>On Saturday, Apr. 16, the city of East Palo Alto opens a new community center on this nine acre patch of restored wetlands. Ahead of the big day, a crack cadre of sewing enthusiasts at the East Palo Alto Senior Center has been working on a massive quilt with textile artist \u003ca href=\"http://lindagass.com\" target=\"_blank\" rel=\"noopener\">Linda Gass\u003c/a>.\u003c/p>\n\n\u003cp>This is painstaking, detailed work that’s not so easy on aging eyes. Years ago, the Senior Center ladies used to make clothes, drapes and quilts. “My mom did the same, and she taught me,” says 77-year-old Dorothy Lewis. She has lived in East Palo Alto since 1959, and as a child, saw her fair share of sewing parties. “They did their own designs. It was nice watching them all sit around and dip snuff.”\u003cstrong> \u003c/strong>\u003cstrong>Game to help\u003c/strong>\u003c/p>\n\n\u003cp>As long as Gass is willing to thread the needles, 71-year-old sewing volunteer Carolyn White is more than game to help. “You know what I love about this quilt?” White says. “Everybody can participate in it. To show how we work together as people. It’s a family affair.”\u003c/p>\n\n\u003cfigure class=\"wp-block-image size-medium\">\n\u003cimg loading=\"lazy\" decoding=\"async\" width=\"723\" height=\"600\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-723x600.jpg\" alt=\"Carolyn White, 71, has lived in East Palo since 1974. \" class=\"wp-image-11485363\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-723x600.jpg 723w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-400x332.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-768x637.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-1180x979.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-960x797.jpg 960w\" sizes=\"auto, (max-width: 723px) 100vw, 723px\">\n\u003cfigcaption class=\"wp-element-caption\">Carolyn White, 71, has lived in East Palo since 1974. “This is something for us, but our children will say ‘Our grandmother, our mother, all our family, was participating in this quilt.’ So it means a lot.” (Photo: Rachael Myrow/KQED)\u003c/figcaption>\n\u003c/figure>\n\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://www.lindagass.com/CreativeEcologyArtwork.html\" target=\"_blank\" rel=\"noopener\">Linda Gass\u003c/a> is an environmental artist who has spent much of her career focused on environmental issues. “I’m both an artist and an environmentalist, and I combine the two,” Gass says.\u003c/span>\u003cspan style=\"font-weight: 400\">In recent months, Gass has been a \u003ca href=\"http://www.cityofpaloalto.org/gov/depts/csd/artcenter/news/displaynews.asp?NewsID=3213&TargetID=308\" target=\"_blank\" rel=\"noopener\">resident artist\u003c/a> at Cooley Landing, thanks to the Institute of Museum and Library Services, the Palo Alto Art Center and the Palo Alto Junior Museum & Zoo. She’s spent that time coming up with creative ways to connect locals to a recently restored natural resource on their shoreline. She helped lead art and science \u003ca href=\"https://youtu.be/WCMULhEOYN8?list=PL7mxJElF4vgjFY7pvHObLyIo9UNFsDx9g\" target=\"_blank\" rel=\"noopener\">workshops\u003c/a> last summer, and made five quilts, or “stitched paintings,” as Gass calls them, inspired by Cooley Landing. \u003c/span>\u003c/p>\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We looked at mud samples under a microscope,” Gass says of the process. “We did drawings, both looking far in the distance, and then looking very close, and drawing the finely detailed things that we saw. We were interested in the contrast between the man-made items here and the natural environment.”\u003c/p>\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-medium\">\n\u003cimg loading=\"lazy\" decoding=\"async\" width=\"605\" height=\"600\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-605x600.jpg\" alt=\"“Cooley Landing: Life in Water” by Linda Gass (2015).\" class=\"wp-image-11485362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-605x600.jpg 605w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-400x397.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-768x762.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-1180x1170.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-960x952.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut.jpg 1815w\" sizes=\"auto, (max-width: 605px) 100vw, 605px\">\n\u003cfigcaption class=\"wp-element-caption\">‘Cooley Landing: Life in Water’ by Linda Gass (2015). (Photo: Courtesy of Don Tuttle)\u003c/figcaption>\n\u003c/figure>\n\u003c/div>\n\u003cp>In addition to the quilts and the workshops, Gass martialed an army of helpers to create a \u003ca href=\"http://www.lindagass.com/CooleyLandingLandArt.html\" target=\"_blank\" rel=\"noopener\">temporary land art installation\u003c/a> out of 2,000 blue plastic \u003ca href=\"http://www.surv-kap.com/Survey-Accessories/Survey-Marking-Whiskers\" target=\"_blank\" rel=\"noopener\">survey marking whiskers\u003c/a> (a tool commonly used by surveyers to plot out construction and other survey sites.) Gass and her collaborators used whiskers to indicate the original San Francisco Bay shoreline before landfill came into the picture.\u003c/p>\n\n\u003cp>\u003cstrong>Community participation is key\u003c/strong>\u003c/p>\n\n\u003cp>Gass is keen to involve community members as active participants in her projects. She wanted the last, biggest quilt produced as a result of her residency to be something collectively created.\u003c/p>\n\n\u003cp>The artist had local high school students paint silk squares she pre-populated with designs of local wildlife. “So you’ll see pickle weed and water boatman bugs, leopard sharks, pelicans, mud crabs,” she says.\u003c/p>\n\n\u003cp>Cooley Landing officially opened to the public in 2012. Operated by the city of East Palo Alto, the park was created in partnership with the \u003ca href=\"http://www.openspace.org/our-work/projects/cooley-landing\" target=\"_blank\" rel=\"noopener\">Midpeninsula Regional Open Space District\u003c/a>, which owns the \u003ca href=\"http://www.openspace.org/preserves/ravenswood\">Ravenswood Open Space Preserve\u003c/a> just to the north. To the south lies the \u003ca href=\"http://www.cityofpaloalto.org/depts/csd/parks_and_open_space/preserves_and_open_spaces/the_baylands.asp\" target=\"_blank\" rel=\"noopener\">Palo Alto Baylands Nature Preserve\u003c/a>, known for the highest concentration of the endangered clapper rail in the world.\u003c/p>\n\n\u003cp>On any given day, you’ll see a wide variety of locals putting Cooley Landing to use in different ways. Fisherman cast for the sturgeon and striped bass. Couples meet for lunch at the picnic tables. Teens come here to smoke a joint.\u003c/p>\n\n\u003cp>But Gass feels that there is a difference between superficially appreciating the bucolic landscape and understanding what you’re really looking at. “It really helps to have someone else teach you how to look at nature and be still,” she says.\u003c/p>\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-large\">\n\u003cimg loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"600\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-800x600.jpg\" alt=\"Cooley Landing is a pleasant piece of nature just a few minutes drive from the city. There are walking trails and picnic tables. If you\" class=\"wp-image-11485244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-960x720.jpg 960w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\n\u003cfigcaption class=\"wp-element-caption\">Cooley Landing at low tide. (Photo: Rachael Myrow/KQED)\u003c/figcaption>\n\u003c/figure>\n\u003c/div>\n\u003cp>At the Eastern end of Bay Road, Cooley Landing juts out into the water, a stub of landfill with two prongs. From the air, it looks like the business end of an electric cord. To the north, you can see Dumbarton Bridge; to the south, a string of PG&E power line towers. Small planes take off in endless procession from Palo Alto Airport nearby.\u003c/p>\n\n\u003cp>\u003cstrong>\u003cspan style=\"line-height: 1.5\">No pristine wilderness\u003c/span>\u003c/strong>\u003cspan style=\"line-height: 1.5\">Even after a multi-million dollar clean-up and restoration, the edges of Cooley Landing are covered in chunks of concrete and rebar. Tires poke out of the mud.\u003c/span>\n\u003c/p>\u003cp>Gass had her doubts when she first laid eyes on the place. “Because Cooley Landing had been a landfill and lots of toxic things had been dumped and burned here, I wasn’t sure that the water quality around Cooley Landing would be healthy,” she says.\u003c/p>\n\n\u003cp>This was a brownfield, so toxic the Environmental Protection Agency (EPA) was willing to \u003ca href=\"https://www3.epa.gov/region9/superfund/cooley/\" target=\"_blank\" rel=\"noopener\">pitch in\u003c/a>\u003c/p>\n\n\n\u003cp>to help pay for the clean-up. It took 10 years of work with multiple agencies – not to mention the effort and money required to build the Educational Center.\u003c/p>\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-large\">\n\u003cimg loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"533\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-800x533.jpg\" alt=\"There are multiple nods to history in this building, designed by Fog Studio. The wood and curves hint at this land\" class=\"wp-image-11485364\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut.jpg 1680w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\n\u003cfigcaption class=\"wp-element-caption\">There are multiple nods to history in this building, designed by Fog Studio. The wood and curves hint at this land’s past as a port and boat works. The reclaimed brick recalls the time locally manufactured bricks were shipped from here to San Francisco. (Photo: Courtesy of Fog Studio)\u003c/figcaption>\n\u003c/figure>\n\u003c/div>\n\u003cp>\u003cspan style=\"font-weight: 400\">East Palo Alto’s Mayor Donna Rutherford is proud of the Education Center’s reclaimed Canadian cedar wood walls where the quilts will hang, and the structure’s great big picture windows that look out onto the water. “\u003c/span>I mean, it was a dump,” Rutherford says. “Now it’s a jewel of our community. We’re going to enjoy it for years and years to come.”\n\u003c/p>\u003cp>\u003cspan style=\"font-weight: 400\">That remains to be seen. City Manager Carlos Martinez says East Palo Alto needs $250,000 a year to keep the building open. Martinez isn’t sure at this point where the funds will come from. \u003c/span>“We still have to determine that,” he says.\u003c/p>\n\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Gass may not solve the cash flow problem. But with her bold quilts inspired by local wildlife, she’s managed to leave an artistic testament to the value of Cooley Landing, for the community it’s meant to serve.\u003c/p>\n\n\n",
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"innerHTML": "\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://cityofepa.org/?nid=446\" target=\"_blank\" rel=\"noopener\">Cooley Landing\u003c/a>, on the shores of East Palo Alto, has been used and abused over the last century. It was even the San Mateo County \u003c/span>\u003cspan style=\"font-weight: 400\">dump\u003c/span>\u003ci>\u003c/i>\u003cspan style=\"font-weight: 400\">for a couple of decades. But a local environmental artist is helping community members feel like the site belongs to them now\u003c/span>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n",
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"\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://cityofepa.org/?nid=446\" target=\"_blank\" rel=\"noopener\">Cooley Landing\u003c/a>, on the shores of East Palo Alto, has been used and abused over the last century. It was even the San Mateo County \u003c/span>\u003cspan style=\"font-weight: 400\">dump\u003c/span>\u003ci>\u003c/i>\u003cspan style=\"font-weight: 400\">for a couple of decades. But a local environmental artist is helping community members feel like the site belongs to them now\u003c/span>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n"
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"innerHTML": "\n\u003cp>On Saturday, Apr. 16, the city of East Palo Alto opens a new community center on this nine acre patch of restored wetlands. Ahead of the big day, a crack cadre of sewing enthusiasts at the East Palo Alto Senior Center has been working on a massive quilt with textile artist \u003ca href=\"http://lindagass.com\" target=\"_blank\" rel=\"noopener\">Linda Gass\u003c/a>.\u003c/p>\n",
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"\n\u003cp>On Saturday, Apr. 16, the city of East Palo Alto opens a new community center on this nine acre patch of restored wetlands. Ahead of the big day, a crack cadre of sewing enthusiasts at the East Palo Alto Senior Center has been working on a massive quilt with textile artist \u003ca href=\"http://lindagass.com\" target=\"_blank\" rel=\"noopener\">Linda Gass\u003c/a>.\u003c/p>\n"
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"innerHTML": "\n\u003cp>This is painstaking, detailed work that’s not so easy on aging eyes. Years ago, the Senior Center ladies used to make clothes, drapes and quilts. “My mom did the same, and she taught me,” says 77-year-old Dorothy Lewis. She has lived in East Palo Alto since 1959, and as a child, saw her fair share of sewing parties. “They did their own designs. It was nice watching them all sit around and dip snuff.”\u003cstrong> \u003c/strong>\u003cstrong>Game to help\u003c/strong>\u003c/p>\n",
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"\n\u003cp>This is painstaking, detailed work that’s not so easy on aging eyes. Years ago, the Senior Center ladies used to make clothes, drapes and quilts. “My mom did the same, and she taught me,” says 77-year-old Dorothy Lewis. She has lived in East Palo Alto since 1959, and as a child, saw her fair share of sewing parties. “They did their own designs. It was nice watching them all sit around and dip snuff.”\u003cstrong> \u003c/strong>\u003cstrong>Game to help\u003c/strong>\u003c/p>\n"
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"innerHTML": "\n\u003cp>As long as Gass is willing to thread the needles, 71-year-old sewing volunteer Carolyn White is more than game to help. “You know what I love about this quilt?” White says. “Everybody can participate in it. To show how we work together as people. It’s a family affair.”\u003c/p>\n",
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"\n\u003cp>As long as Gass is willing to thread the needles, 71-year-old sewing volunteer Carolyn White is more than game to help. “You know what I love about this quilt?” White says. “Everybody can participate in it. To show how we work together as people. It’s a family affair.”\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image size-medium\">\n\u003cimg src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-723x600.jpg\" alt=\"Carolyn White, 71, has lived in East Palo since 1974. \" class=\"wp-image-11485363\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-723x600.jpg 723w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-400x332.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-768x637.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-1180x979.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-960x797.jpg 960w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\" />\n\u003cfigcaption class=\"wp-element-caption\">Carolyn White, 71, has lived in East Palo since 1974. “This is something for us, but our children will say ‘Our grandmother, our mother, all our family, was participating in this quilt.’ So it means a lot.”\u003c/figcaption>\n\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image size-medium\">\n\u003cimg src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-723x600.jpg\" alt=\"Carolyn White, 71, has lived in East Palo since 1974. \" class=\"wp-image-11485363\" />\n\u003cfigcaption class=\"wp-element-caption\">Carolyn White, 71, has lived in East Palo since 1974. “This is something for us, but our children will say ‘Our grandmother, our mother, all our family, was participating in this quilt.’ So it means a lot.”\u003c/figcaption>\n\u003c/figure>\n"
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"innerHTML": "\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://www.lindagass.com/CreativeEcologyArtwork.html\" target=\"_blank\" rel=\"noopener\">Linda Gass\u003c/a> is an environmental artist who has spent much of her career focused on environmental issues. “I’m both an artist and an environmentalist, and I combine the two,” Gass says.\u003c/span>\u003cspan style=\"font-weight: 400\">In recent months, Gass has been a \u003ca href=\"http://www.cityofpaloalto.org/gov/depts/csd/artcenter/news/displaynews.asp?NewsID=3213&TargetID=308\" target=\"_blank\" rel=\"noopener\">resident artist\u003c/a> at Cooley Landing, thanks to the Institute of Museum and Library Services, the Palo Alto Art Center and the Palo Alto Junior Museum & Zoo. She’s spent that time coming up with creative ways to connect locals to a recently restored natural resource on their shoreline. She helped lead art and science \u003ca href=\"https://youtu.be/WCMULhEOYN8?list=PL7mxJElF4vgjFY7pvHObLyIo9UNFsDx9g\" target=\"_blank\" rel=\"noopener\">workshops\u003c/a> last summer, and made five quilts, or “stitched paintings,” as Gass calls them, inspired by Cooley Landing. \u003c/span>\u003c/p>\n",
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"\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://www.lindagass.com/CreativeEcologyArtwork.html\" target=\"_blank\" rel=\"noopener\">Linda Gass\u003c/a> is an environmental artist who has spent much of her career focused on environmental issues. “I’m both an artist and an environmentalist, and I combine the two,” Gass says.\u003c/span>\u003cspan style=\"font-weight: 400\">In recent months, Gass has been a \u003ca href=\"http://www.cityofpaloalto.org/gov/depts/csd/artcenter/news/displaynews.asp?NewsID=3213&TargetID=308\" target=\"_blank\" rel=\"noopener\">resident artist\u003c/a> at Cooley Landing, thanks to the Institute of Museum and Library Services, the Palo Alto Art Center and the Palo Alto Junior Museum & Zoo. She’s spent that time coming up with creative ways to connect locals to a recently restored natural resource on their shoreline. She helped lead art and science \u003ca href=\"https://youtu.be/WCMULhEOYN8?list=PL7mxJElF4vgjFY7pvHObLyIo9UNFsDx9g\" target=\"_blank\" rel=\"noopener\">workshops\u003c/a> last summer, and made five quilts, or “stitched paintings,” as Gass calls them, inspired by Cooley Landing. \u003c/span>\u003c/p>\n"
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"innerHTML": "\n\u003cp>“We looked at mud samples under a microscope,” Gass says of the process. “We did drawings, both looking far in the distance, and then looking very close, and drawing the finely detailed things that we saw. We were interested in the contrast between the man-made items here and the natural environment.”\u003c/p>\n",
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"\n\u003cp>“We looked at mud samples under a microscope,” Gass says of the process. “We did drawings, both looking far in the distance, and then looking very close, and drawing the finely detailed things that we saw. We were interested in the contrast between the man-made items here and the natural environment.”\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image aligncenter size-medium\">\n\u003cimg src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-605x600.jpg\" alt=\"“Cooley Landing: Life in Water” by Linda Gass (2015).\" class=\"wp-image-11485362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-605x600.jpg 605w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-400x397.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-768x762.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-1180x1170.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-960x952.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut.jpg 1815w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\" />\n\u003cfigcaption class=\"wp-element-caption\">‘Cooley Landing: Life in Water’ by Linda Gass (2015).\u003c/figcaption>\n\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image aligncenter size-medium\">\n\u003cimg src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-605x600.jpg\" alt=\"“Cooley Landing: Life in Water” by Linda Gass (2015).\" class=\"wp-image-11485362\" />\n\u003cfigcaption class=\"wp-element-caption\">‘Cooley Landing: Life in Water’ by Linda Gass (2015).\u003c/figcaption>\n\u003c/figure>\n"
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"innerHTML": "\n\u003cp>In addition to the quilts and the workshops, Gass martialed an army of helpers to create a \u003ca href=\"http://www.lindagass.com/CooleyLandingLandArt.html\" target=\"_blank\" rel=\"noopener\">temporary land art installation\u003c/a> out of 2,000 blue plastic \u003ca href=\"http://www.surv-kap.com/Survey-Accessories/Survey-Marking-Whiskers\" target=\"_blank\" rel=\"noopener\">survey marking whiskers\u003c/a> (a tool commonly used by surveyers to plot out construction and other survey sites.) Gass and her collaborators used whiskers to indicate the original San Francisco Bay shoreline before landfill came into the picture.\u003c/p>\n",
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"\n\u003cp>In addition to the quilts and the workshops, Gass martialed an army of helpers to create a \u003ca href=\"http://www.lindagass.com/CooleyLandingLandArt.html\" target=\"_blank\" rel=\"noopener\">temporary land art installation\u003c/a> out of 2,000 blue plastic \u003ca href=\"http://www.surv-kap.com/Survey-Accessories/Survey-Marking-Whiskers\" target=\"_blank\" rel=\"noopener\">survey marking whiskers\u003c/a> (a tool commonly used by surveyers to plot out construction and other survey sites.) Gass and her collaborators used whiskers to indicate the original San Francisco Bay shoreline before landfill came into the picture.\u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003cstrong>Community participation is key\u003c/strong>\u003c/p>\n",
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"innerHTML": "\n\u003cp>Gass is keen to involve community members as active participants in her projects. She wanted the last, biggest quilt produced as a result of her residency to be something collectively created.\u003c/p>\n",
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"\n\u003cp>Gass is keen to involve community members as active participants in her projects. She wanted the last, biggest quilt produced as a result of her residency to be something collectively created.\u003c/p>\n"
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"innerHTML": "\n\u003cp>The artist had local high school students paint silk squares she pre-populated with designs of local wildlife. “So you’ll see pickle weed and water boatman bugs, leopard sharks, pelicans, mud crabs,” she says.\u003c/p>\n",
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"\n\u003cp>The artist had local high school students paint silk squares she pre-populated with designs of local wildlife. “So you’ll see pickle weed and water boatman bugs, leopard sharks, pelicans, mud crabs,” she says.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Cooley Landing officially opened to the public in 2012. Operated by the city of East Palo Alto, the park was created in partnership with the \u003ca href=\"http://www.openspace.org/our-work/projects/cooley-landing\" target=\"_blank\" rel=\"noopener\">Midpeninsula Regional Open Space District\u003c/a>, which owns the \u003ca href=\"http://www.openspace.org/preserves/ravenswood\">Ravenswood Open Space Preserve\u003c/a> just to the north. To the south lies the \u003ca href=\"http://www.cityofpaloalto.org/depts/csd/parks_and_open_space/preserves_and_open_spaces/the_baylands.asp\" target=\"_blank\" rel=\"noopener\">Palo Alto Baylands Nature Preserve\u003c/a>, known for the highest concentration of the endangered clapper rail in the world.\u003c/p>\n",
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"\n\u003cp>Cooley Landing officially opened to the public in 2012. Operated by the city of East Palo Alto, the park was created in partnership with the \u003ca href=\"http://www.openspace.org/our-work/projects/cooley-landing\" target=\"_blank\" rel=\"noopener\">Midpeninsula Regional Open Space District\u003c/a>, which owns the \u003ca href=\"http://www.openspace.org/preserves/ravenswood\">Ravenswood Open Space Preserve\u003c/a> just to the north. To the south lies the \u003ca href=\"http://www.cityofpaloalto.org/depts/csd/parks_and_open_space/preserves_and_open_spaces/the_baylands.asp\" target=\"_blank\" rel=\"noopener\">Palo Alto Baylands Nature Preserve\u003c/a>, known for the highest concentration of the endangered clapper rail in the world.\u003c/p>\n"
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"innerHTML": "\n\u003cp>On any given day, you’ll see a wide variety of locals putting Cooley Landing to use in different ways. Fisherman cast for the sturgeon and striped bass. Couples meet for lunch at the picnic tables. Teens come here to smoke a joint.\u003c/p>\n",
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"\n\u003cp>On any given day, you’ll see a wide variety of locals putting Cooley Landing to use in different ways. Fisherman cast for the sturgeon and striped bass. Couples meet for lunch at the picnic tables. Teens come here to smoke a joint.\u003c/p>\n"
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"innerHTML": "\n\u003cp>But Gass feels that there is a difference between superficially appreciating the bucolic landscape and understanding what you’re really looking at. “It really helps to have someone else teach you how to look at nature and be still,” she says.\u003c/p>\n",
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"\n\u003cp>But Gass feels that there is a difference between superficially appreciating the bucolic landscape and understanding what you’re really looking at. “It really helps to have someone else teach you how to look at nature and be still,” she says.\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image aligncenter size-large\">\n\u003cimg src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-800x600.jpg\" alt=\"Cooley Landing is a pleasant piece of nature just a few minutes drive from the city. There are walking trails and picnic tables. If you\" class=\"wp-image-11485244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-960x720.jpg 960w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\" />\n\u003cfigcaption class=\"wp-element-caption\">Cooley Landing at low tide.\u003c/figcaption>\n\u003c/figure>\n",
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"innerHTML": "\n\u003cp>At the Eastern end of Bay Road, Cooley Landing juts out into the water, a stub of landfill with two prongs. From the air, it looks like the business end of an electric cord. To the north, you can see Dumbarton Bridge; to the south, a string of PG&E power line towers. Small planes take off in endless procession from Palo Alto Airport nearby.\u003c/p>\n",
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"\n\u003cp>At the Eastern end of Bay Road, Cooley Landing juts out into the water, a stub of landfill with two prongs. From the air, it looks like the business end of an electric cord. To the north, you can see Dumbarton Bridge; to the south, a string of PG&E power line towers. Small planes take off in endless procession from Palo Alto Airport nearby.\u003c/p>\n"
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"innerHTML": "\n\u003cp>\u003cstrong>\u003cspan style=\"line-height: 1.5\">No pristine wilderness\u003c/span>\u003c/strong>\u003cspan style=\"line-height: 1.5\">Even after a multi-million dollar clean-up and restoration, the edges of Cooley Landing are covered in chunks of concrete and rebar. Tires poke out of the mud.\u003c/span>\u003c/p>\n",
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"\n\u003cp>\u003cstrong>\u003cspan style=\"line-height: 1.5\">No pristine wilderness\u003c/span>\u003c/strong>\u003cspan style=\"line-height: 1.5\">Even after a multi-million dollar clean-up and restoration, the edges of Cooley Landing are covered in chunks of concrete and rebar. Tires poke out of the mud.\u003c/span>",
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"innerHTML": "\n\u003cp>Gass had her doubts when she first laid eyes on the place. “Because Cooley Landing had been a landfill and lots of toxic things had been dumped and burned here, I wasn’t sure that the water quality around Cooley Landing would be healthy,” she says.\u003c/p>\n",
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"\n\u003cp>Gass had her doubts when she first laid eyes on the place. “Because Cooley Landing had been a landfill and lots of toxic things had been dumped and burned here, I wasn’t sure that the water quality around Cooley Landing would be healthy,” she says.\u003c/p>\n"
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"innerHTML": "\n\u003cp>This was a brownfield, so toxic the Environmental Protection Agency (EPA) was willing to \u003ca href=\"https://www3.epa.gov/region9/superfund/cooley/\" target=\"_blank\" rel=\"noopener\">pitch in\u003c/a>\u003c/p>\n",
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"\n\u003cp>This was a brownfield, so toxic the Environmental Protection Agency (EPA) was willing to \u003ca href=\"https://www3.epa.gov/region9/superfund/cooley/\" target=\"_blank\" rel=\"noopener\">pitch in\u003c/a>\u003c/p>\n"
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"innerHTML": "\n\u003cp>to help pay for the clean-up. It took 10 years of work with multiple agencies – not to mention the effort and money required to build the Educational Center.\u003c/p>\n",
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"\n\u003cp>to help pay for the clean-up. It took 10 years of work with multiple agencies – not to mention the effort and money required to build the Educational Center.\u003c/p>\n"
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"innerHTML": "\n\u003cfigure class=\"wp-block-image aligncenter size-large\">\n\u003cimg src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-800x533.jpg\" alt=\"There are multiple nods to history in this building, designed by Fog Studio. The wood and curves hint at this land\" class=\"wp-image-11485364\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut.jpg 1680w\" sizes=\"(min-width: 992px) min(100vw, 1536px), (min-width: 768px) min(100vw, 1280px), min(100vw, 1020px)\" />\n\u003cfigcaption class=\"wp-element-caption\">There are multiple nods to history in this building, designed by Fog Studio. The wood and curves hint at this land’s past as a port and boat works. The reclaimed brick recalls the time locally manufactured bricks were shipped from here to San Francisco.\u003c/figcaption>\n\u003c/figure>\n",
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"\n\u003cfigure class=\"wp-block-image aligncenter size-large\">\n\u003cimg src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-800x533.jpg\" alt=\"There are multiple nods to history in this building, designed by Fog Studio. The wood and curves hint at this land\" class=\"wp-image-11485364\" />\n\u003cfigcaption class=\"wp-element-caption\">There are multiple nods to history in this building, designed by Fog Studio. The wood and curves hint at this land’s past as a port and boat works. The reclaimed brick recalls the time locally manufactured bricks were shipped from here to San Francisco.\u003c/figcaption>\n\u003c/figure>\n"
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"innerHTML": "\n\u003cp>\u003cspan style=\"font-weight: 400\">East Palo Alto’s Mayor Donna Rutherford is proud of the Education Center’s reclaimed Canadian cedar wood walls where the quilts will hang, and the structure’s great big picture windows that look out onto the water. “\u003c/span>I mean, it was a dump,” Rutherford says. “Now it’s a jewel of our community. We’re going to enjoy it for years and years to come.”\u003c/p>\n",
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"\n\u003cp>\u003cspan style=\"font-weight: 400\">East Palo Alto’s Mayor Donna Rutherford is proud of the Education Center’s reclaimed Canadian cedar wood walls where the quilts will hang, and the structure’s great big picture windows that look out onto the water. “\u003c/span>I mean, it was a dump,” Rutherford says. “Now it’s a jewel of our community. We’re going to enjoy it for years and years to come.”",
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"innerHTML": "\n\u003cp>\u003cspan style=\"font-weight: 400\">That remains to be seen. City Manager Carlos Martinez says East Palo Alto needs $250,000 a year to keep the building open. Martinez isn’t sure at this point where the funds will come from. \u003c/span>“We still have to determine that,” he says.\u003c/p>\n",
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"\n\u003cp>\u003cspan style=\"font-weight: 400\">That remains to be seen. City Manager Carlos Martinez says East Palo Alto needs $250,000 a year to keep the building open. Martinez isn’t sure at this point where the funds will come from. \u003c/span>“We still have to determine that,” he says.\u003c/p>\n"
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"innerHTML": "\n\u003cp>Gass may not solve the cash flow problem. But with her bold quilts inspired by local wildlife, she’s managed to leave an artistic testament to the value of Cooley Landing, for the community it’s meant to serve.\u003c/p>\n",
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"\n\u003cp>Gass may not solve the cash flow problem. But with her bold quilts inspired by local wildlife, she’s managed to leave an artistic testament to the value of Cooley Landing, for the community it’s meant to serve.\u003c/p>\n"
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"excerpt": "Environmental textile artist Linda Gass has been working with locals to reflect on the beauty and biodiversity of a site that was once a toxic waste dump",
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"title": "Quilts Help Stitch Together New Perception of East Palo Alto's Cooley Landing | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://cityofepa.org/?nid=446\" target=\"_blank\" rel=\"noopener\">Cooley Landing\u003c/a>, on the shores of East Palo Alto, has been used and abused over the last century. It was even the San Mateo County \u003c/span>\u003cspan style=\"font-weight: 400\">dump\u003c/span>\u003ci>\u003c/i>\u003cspan style=\"font-weight: 400\">for a couple of decades. But a local environmental artist is helping community members feel like the site belongs to them now\u003c/span>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\n\u003cp>On Saturday, Apr. 16, the city of East Palo Alto opens a new community center on this nine acre patch of restored wetlands. Ahead of the big day, a crack cadre of sewing enthusiasts at the East Palo Alto Senior Center has been working on a massive quilt with textile artist \u003ca href=\"http://lindagass.com\" target=\"_blank\" rel=\"noopener\">Linda Gass\u003c/a>.\u003c/p>\n\n\u003cp>This is painstaking, detailed work that’s not so easy on aging eyes. Years ago, the Senior Center ladies used to make clothes, drapes and quilts. “My mom did the same, and she taught me,” says 77-year-old Dorothy Lewis. She has lived in East Palo Alto since 1959, and as a child, saw her fair share of sewing parties. “They did their own designs. It was nice watching them all sit around and dip snuff.”\u003cstrong> \u003c/strong>\u003cstrong>Game to help\u003c/strong>\u003c/p>\n\n\u003cp>As long as Gass is willing to thread the needles, 71-year-old sewing volunteer Carolyn White is more than game to help. “You know what I love about this quilt?” White says. “Everybody can participate in it. To show how we work together as people. It’s a family affair.”\u003c/p>\n\n\u003cfigure class=\"wp-block-image size-medium\">\n\u003cimg loading=\"lazy\" decoding=\"async\" width=\"723\" height=\"600\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-723x600.jpg\" alt=\"Carolyn White, 71, has lived in East Palo since 1974. \" class=\"wp-image-11485363\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-723x600.jpg 723w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-400x332.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-768x637.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-1180x979.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19105_CarolynWhite-qut-960x797.jpg 960w\" sizes=\"auto, (max-width: 723px) 100vw, 723px\">\n\u003cfigcaption class=\"wp-element-caption\">Carolyn White, 71, has lived in East Palo since 1974. “This is something for us, but our children will say ‘Our grandmother, our mother, all our family, was participating in this quilt.’ So it means a lot.” (Photo: Rachael Myrow/KQED)\u003c/figcaption>\n\u003c/figure>\n\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://www.lindagass.com/CreativeEcologyArtwork.html\" target=\"_blank\" rel=\"noopener\">Linda Gass\u003c/a> is an environmental artist who has spent much of her career focused on environmental issues. “I’m both an artist and an environmentalist, and I combine the two,” Gass says.\u003c/span>\u003cspan style=\"font-weight: 400\">In recent months, Gass has been a \u003ca href=\"http://www.cityofpaloalto.org/gov/depts/csd/artcenter/news/displaynews.asp?NewsID=3213&TargetID=308\" target=\"_blank\" rel=\"noopener\">resident artist\u003c/a> at Cooley Landing, thanks to the Institute of Museum and Library Services, the Palo Alto Art Center and the Palo Alto Junior Museum & Zoo. She’s spent that time coming up with creative ways to connect locals to a recently restored natural resource on their shoreline. She helped lead art and science \u003ca href=\"https://youtu.be/WCMULhEOYN8?list=PL7mxJElF4vgjFY7pvHObLyIo9UNFsDx9g\" target=\"_blank\" rel=\"noopener\">workshops\u003c/a> last summer, and made five quilts, or “stitched paintings,” as Gass calls them, inspired by Cooley Landing. \u003c/span>\u003c/p>\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We looked at mud samples under a microscope,” Gass says of the process. “We did drawings, both looking far in the distance, and then looking very close, and drawing the finely detailed things that we saw. We were interested in the contrast between the man-made items here and the natural environment.”\u003c/p>\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-medium\">\n\u003cimg loading=\"lazy\" decoding=\"async\" width=\"605\" height=\"600\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-605x600.jpg\" alt=\"“Cooley Landing: Life in Water” by Linda Gass (2015).\" class=\"wp-image-11485362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-605x600.jpg 605w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-400x397.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-768x762.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-1180x1170.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-960x952.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19104_LifeInWaterFinal-qut.jpg 1815w\" sizes=\"auto, (max-width: 605px) 100vw, 605px\">\n\u003cfigcaption class=\"wp-element-caption\">‘Cooley Landing: Life in Water’ by Linda Gass (2015). (Photo: Courtesy of Don Tuttle)\u003c/figcaption>\n\u003c/figure>\n\u003c/div>\n\u003cp>In addition to the quilts and the workshops, Gass martialed an army of helpers to create a \u003ca href=\"http://www.lindagass.com/CooleyLandingLandArt.html\" target=\"_blank\" rel=\"noopener\">temporary land art installation\u003c/a> out of 2,000 blue plastic \u003ca href=\"http://www.surv-kap.com/Survey-Accessories/Survey-Marking-Whiskers\" target=\"_blank\" rel=\"noopener\">survey marking whiskers\u003c/a> (a tool commonly used by surveyers to plot out construction and other survey sites.) Gass and her collaborators used whiskers to indicate the original San Francisco Bay shoreline before landfill came into the picture.\u003c/p>\n\n\u003cp>\u003cstrong>Community participation is key\u003c/strong>\u003c/p>\n\n\u003cp>Gass is keen to involve community members as active participants in her projects. She wanted the last, biggest quilt produced as a result of her residency to be something collectively created.\u003c/p>\n\n\u003cp>The artist had local high school students paint silk squares she pre-populated with designs of local wildlife. “So you’ll see pickle weed and water boatman bugs, leopard sharks, pelicans, mud crabs,” she says.\u003c/p>\n\n\u003cp>Cooley Landing officially opened to the public in 2012. Operated by the city of East Palo Alto, the park was created in partnership with the \u003ca href=\"http://www.openspace.org/our-work/projects/cooley-landing\" target=\"_blank\" rel=\"noopener\">Midpeninsula Regional Open Space District\u003c/a>, which owns the \u003ca href=\"http://www.openspace.org/preserves/ravenswood\">Ravenswood Open Space Preserve\u003c/a> just to the north. To the south lies the \u003ca href=\"http://www.cityofpaloalto.org/depts/csd/parks_and_open_space/preserves_and_open_spaces/the_baylands.asp\" target=\"_blank\" rel=\"noopener\">Palo Alto Baylands Nature Preserve\u003c/a>, known for the highest concentration of the endangered clapper rail in the world.\u003c/p>\n\n\u003cp>On any given day, you’ll see a wide variety of locals putting Cooley Landing to use in different ways. Fisherman cast for the sturgeon and striped bass. Couples meet for lunch at the picnic tables. Teens come here to smoke a joint.\u003c/p>\n\n\u003cp>But Gass feels that there is a difference between superficially appreciating the bucolic landscape and understanding what you’re really looking at. “It really helps to have someone else teach you how to look at nature and be still,” she says.\u003c/p>\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-large\">\n\u003cimg loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"600\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-800x600.jpg\" alt=\"Cooley Landing is a pleasant piece of nature just a few minutes drive from the city. There are walking trails and picnic tables. If you\" class=\"wp-image-11485244\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19103_IMG_1534-qut-960x720.jpg 960w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\n\u003cfigcaption class=\"wp-element-caption\">Cooley Landing at low tide. (Photo: Rachael Myrow/KQED)\u003c/figcaption>\n\u003c/figure>\n\u003c/div>\n\u003cp>At the Eastern end of Bay Road, Cooley Landing juts out into the water, a stub of landfill with two prongs. From the air, it looks like the business end of an electric cord. To the north, you can see Dumbarton Bridge; to the south, a string of PG&E power line towers. Small planes take off in endless procession from Palo Alto Airport nearby.\u003c/p>\n\n\u003cp>\u003cstrong>\u003cspan style=\"line-height: 1.5\">No pristine wilderness\u003c/span>\u003c/strong>\u003cspan style=\"line-height: 1.5\">Even after a multi-million dollar clean-up and restoration, the edges of Cooley Landing are covered in chunks of concrete and rebar. Tires poke out of the mud.\u003c/span>\n\u003c/p>\u003cp>Gass had her doubts when she first laid eyes on the place. “Because Cooley Landing had been a landfill and lots of toxic things had been dumped and burned here, I wasn’t sure that the water quality around Cooley Landing would be healthy,” she says.\u003c/p>\n\n\u003cp>This was a brownfield, so toxic the Environmental Protection Agency (EPA) was willing to \u003ca href=\"https://www3.epa.gov/region9/superfund/cooley/\" target=\"_blank\" rel=\"noopener\">pitch in\u003c/a>\u003c/p>\n\n\n\u003cp>to help pay for the clean-up. It took 10 years of work with multiple agencies – not to mention the effort and money required to build the Educational Center.\u003c/p>\n\u003cdiv class=\"wp-block-image\">\n\u003cfigure class=\"aligncenter size-large\">\n\u003cimg loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"533\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-800x533.jpg\" alt=\"There are multiple nods to history in this building, designed by Fog Studio. The wood and curves hint at this land\" class=\"wp-image-11485364\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19106_EducationCenter1-qut.jpg 1680w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\n\u003cfigcaption class=\"wp-element-caption\">There are multiple nods to history in this building, designed by Fog Studio. The wood and curves hint at this land’s past as a port and boat works. The reclaimed brick recalls the time locally manufactured bricks were shipped from here to San Francisco. (Photo: Courtesy of Fog Studio)\u003c/figcaption>\n\u003c/figure>\n\u003c/div>\n\u003cp>\u003cspan style=\"font-weight: 400\">East Palo Alto’s Mayor Donna Rutherford is proud of the Education Center’s reclaimed Canadian cedar wood walls where the quilts will hang, and the structure’s great big picture windows that look out onto the water. “\u003c/span>I mean, it was a dump,” Rutherford says. “Now it’s a jewel of our community. We’re going to enjoy it for years and years to come.”\n\u003c/p>\u003cp>\u003cspan style=\"font-weight: 400\">That remains to be seen. City Manager Carlos Martinez says East Palo Alto needs $250,000 a year to keep the building open. Martinez isn’t sure at this point where the funds will come from. \u003c/span>“We still have to determine that,” he says.\u003c/p>\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Gass may not solve the cash flow problem. But with her bold quilts inspired by local wildlife, she’s managed to leave an artistic testament to the value of Cooley Landing, for the community it’s meant to serve.\u003c/p>\n\n\n\u003c/div>\u003c/p>",
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"title": "Ta-Nehisi Coates Pivots From Politics to Comic Books with 'Black Panther'",
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"content": "\u003cp>One of America’s most popular writers on race is now concentrating on the life of the superhero king of a mythical African country.\u003c/p>\n\u003cp>Ta-Nehisi Coates’ lifelong love of comic books made him jump at the chance to write \u003cem>the Black Panther\u003c/em>, one of the first comic books heroes of color for Marvel. While it may seem like a diversion from his serious commentary on race, Coates says it still allows him to talk about issues that he feels deeply about — through a good superhero story.\u003c/p>\n\u003cp>“Can this promise of rights — human rights and civil rights — be expanded equally to everybody?” he said in an interview with The Associated Press. “That is very much alive in Black Panther, even though it’s not a ‘race’ story. The spirit of it is very much there.”\u003c/p>\n\u003cp>A national correspondent for The Atlantic magazine, Coates’ 2015 book “Between the World and Me” won the National Book Award for Nonfiction and has been on The New York Times bestseller list for 37 weeks and counting. He also was a recipient of a McArthur Foundation “genius” grant last year.\u003c/p>\n\u003cp>Now living in Paris, Coates is taking on a character with a long comic book history and a rising public profile. \u003cem>The Black Panther\u003c/em> was introduced as a supporting character in \u003cem>Fantastic Four\u003c/em> in 1966, and will be featured in Marvel’s \u003cem>Captain America: Civil War\u003c/em> movie in May. There is also a 2018 movie scheduled to be helmed by \u003cem>Fruitvale Station\u003c/em> and \u003cem>Creed\u003c/em> director Ryan Coogler.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Black Panther is the alter-ego of T’Challa, the king of Wakanda, a technologically-advanced African country. In addition to being monarch, he controls the country’s vibranium, a fictional metal that absorbs vibrations and forms the bedrock of the country’s wealth and power. A longtime ally and one-time member of both the Avengers and the Fantastic Four, T’Challa uses his wealth, inventions, and country’s resources to battle against evil from both inside and outside his country’s borders while serving as the head of the government.\u003c/p>\n\u003cp>Coates, who is now living in Paris, said he hopes to be part of making the Black Panther more popular in American society.\u003c/p>\n\u003cp>“My job is to make people regard Wakanda and the Black Panther in the same way that I regarded Marvel’s New York and Spider-Man when I was a kid,” he said.\u003c/p>\n\u003cp>It may be on its way. Marvel took more than 300,000 pre-orders for \u003cem>Black Panther\u003c/em> #1, officials said. According to John Jackson Miller’s \u003cem>The Comics Chronicles\u003c/em>, the top selling comic book in March — \u003cem>Batman\u003c/em> — sold 163,406.\u003c/p>\n\u003cp>Coates is writing an 11-issue run, with artist Brian Stelfreeze. It will explore questions of morality and power, such as why such a technologically-advanced country would even have a monarch, and whether a good man be king. When asked if there is an allegory for current state of politics in the United States in those questions, Coates laughed.\u003c/p>\n\u003cp>“That is probably for people who are interpreting it to say,” he said. “I can paint the story but I’ll be interested in what people draw from it.”\u003c/p>\n\u003cp>Some have questioned why Coates wrote a comic book instead of continuing to focus on real-life issues of racism and violence, especially with the issues playing such a vital role in the presidential campaign. Coates said he considers that question an attack on art.\u003c/p>\n\u003cp>“In every stage in history when people make art, horrible things are happening in the politics of the world. That’s where a lot of the art came from,” he said … “What people are really saying is, ‘Why don’t you write about the things I would write about? But I don’t actually have time to develop the chops to become the kind of person who can do journalism; I just want you to do what I would do.'”\u003c/p>\n\u003cp>Besides, Coates explained, comic books heavily influenced his writing and are an underappreciated form of literature.\u003c/p>\n\u003cp>“I think comic books function as a form of visual poetry, at least when they’re done at a certain level,” he said.\u003c/p>\n\u003cp>“I know what moves me,” he added, “and comic books have always been part of that.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of America’s most popular writers on race is now concentrating on the life of the superhero king of a mythical African country.\u003c/p>\n\u003cp>Ta-Nehisi Coates’ lifelong love of comic books made him jump at the chance to write \u003cem>the Black Panther\u003c/em>, one of the first comic books heroes of color for Marvel. While it may seem like a diversion from his serious commentary on race, Coates says it still allows him to talk about issues that he feels deeply about — through a good superhero story.\u003c/p>\n\u003cp>“Can this promise of rights — human rights and civil rights — be expanded equally to everybody?” he said in an interview with The Associated Press. “That is very much alive in Black Panther, even though it’s not a ‘race’ story. The spirit of it is very much there.”\u003c/p>\n\u003cp>A national correspondent for The Atlantic magazine, Coates’ 2015 book “Between the World and Me” won the National Book Award for Nonfiction and has been on The New York Times bestseller list for 37 weeks and counting. He also was a recipient of a McArthur Foundation “genius” grant last year.\u003c/p>\n\u003cp>Now living in Paris, Coates is taking on a character with a long comic book history and a rising public profile. \u003cem>The Black Panther\u003c/em> was introduced as a supporting character in \u003cem>Fantastic Four\u003c/em> in 1966, and will be featured in Marvel’s \u003cem>Captain America: Civil War\u003c/em> movie in May. There is also a 2018 movie scheduled to be helmed by \u003cem>Fruitvale Station\u003c/em> and \u003cem>Creed\u003c/em> director Ryan Coogler.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Black Panther is the alter-ego of T’Challa, the king of Wakanda, a technologically-advanced African country. In addition to being monarch, he controls the country’s vibranium, a fictional metal that absorbs vibrations and forms the bedrock of the country’s wealth and power. A longtime ally and one-time member of both the Avengers and the Fantastic Four, T’Challa uses his wealth, inventions, and country’s resources to battle against evil from both inside and outside his country’s borders while serving as the head of the government.\u003c/p>\n\u003cp>Coates, who is now living in Paris, said he hopes to be part of making the Black Panther more popular in American society.\u003c/p>\n\u003cp>“My job is to make people regard Wakanda and the Black Panther in the same way that I regarded Marvel’s New York and Spider-Man when I was a kid,” he said.\u003c/p>\n\u003cp>It may be on its way. Marvel took more than 300,000 pre-orders for \u003cem>Black Panther\u003c/em> #1, officials said. According to John Jackson Miller’s \u003cem>The Comics Chronicles\u003c/em>, the top selling comic book in March — \u003cem>Batman\u003c/em> — sold 163,406.\u003c/p>\n\u003cp>Coates is writing an 11-issue run, with artist Brian Stelfreeze. It will explore questions of morality and power, such as why such a technologically-advanced country would even have a monarch, and whether a good man be king. When asked if there is an allegory for current state of politics in the United States in those questions, Coates laughed.\u003c/p>\n\u003cp>“That is probably for people who are interpreting it to say,” he said. “I can paint the story but I’ll be interested in what people draw from it.”\u003c/p>\n\u003cp>Some have questioned why Coates wrote a comic book instead of continuing to focus on real-life issues of racism and violence, especially with the issues playing such a vital role in the presidential campaign. Coates said he considers that question an attack on art.\u003c/p>\n\u003cp>“In every stage in history when people make art, horrible things are happening in the politics of the world. That’s where a lot of the art came from,” he said … “What people are really saying is, ‘Why don’t you write about the things I would write about? But I don’t actually have time to develop the chops to become the kind of person who can do journalism; I just want you to do what I would do.'”\u003c/p>\n\u003cp>Besides, Coates explained, comic books heavily influenced his writing and are an underappreciated form of literature.\u003c/p>\n\u003cp>“I think comic books function as a form of visual poetry, at least when they’re done at a certain level,” he said.\u003c/p>\n\u003cp>“I know what moves me,” he added, “and comic books have always been part of that.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "a-disturbance-in-the-fur-ce-event-renamed-after-lucasfilm-notice",
"title": "A Disturbance in The Fur-ce: Event Renamed After Lucasfilm Notice",
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"content": "\u003cp>The \u003ca href=\"https://recordsetter.com/world-record/global-lightsaber-battle/45244\" target=\"_blank\" rel=\"noopener\">world record-breaking\u003c/a> Light Battle Tour, which drew large crowds during its stop in the Embarcadero’s Sue Bierman Park \u003ca href=\"http://www.ktvu.com/news/58937866-story\" target=\"_blank\" rel=\"noopener\">last December\u003c/a>, will now be known as \u003ca href=\"https://catsinspacetour.com/\" target=\"_blank\" rel=\"noopener\">Cats in Space Tour\u003c/a> after a legal settlement with trademark holder Lucasfilm, according to an \u003ca href=\"https://catsinspacetour.com/blogs/news/118143171-statement-re-legal-settlement-with-lucasfilm-cats-in-space-launch\" target=\"_blank\" rel=\"noopener\">announcement\u003c/a> on the event’s website.\u003c/p>\n\u003cp>According to the post, the \u003ca href=\"http://ww2.kqed.org/news/2012/10/30/disney-buys-lucasfilm-and-makes-a-star-wars-sequel\" target=\"_blank\" rel=\"noopener\">Disney-helmed Lucasfilm\u003c/a> first approached Canadian non-profit \u003ca href=\"http://www.newmindspace.com/\" target=\"_blank\" rel=\"noopener\">Newmindspace\u003c/a> with a cease-and-desist in January over the use of the words the words “lightsaber,” “Jedi,” “Sith,” and “The Force.” Then in March, they followed up with another notice over the similarity of the name “Light Battle Tour” to the company’s trademark.\u003c/p>\n\u003cp>As per the settlement, event coordinators re-branded the event to “Cats in Space Tour,” but assure attendees that previous registrations will still be honored and that the event shall proceed as usual. The battle between Space Cats and Space Mice rages on, with the inclusion of the weapon that is clearly not a lightsaber, but a “cat blade”.\u003c/p>\n\u003cfigure id=\"attachment_11488074\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11488074\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/cat-blade-600x600.jpg\" alt=\"Registration for the Cats in Space Tour run from $10 to $25 per person and include memorabilia and a dollar donation to Make-A-Wish. \" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade.jpg 900w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Registration for the Cats in Space Tour run from $10 to $25 per person and include memorabilia and a dollar donation to Make-A-Wish. \u003ccite>(Photo: Courtesy of Cats in Space Tour. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Cats in Space is a fun, playful series of Space Battles where participants can fight with fantasy weapons, laser guns, and more, while enjoying original artwork on T-shirts that benefit charity,” co-founder Kevin Bracken states in the post.\u003c/p>\n\u003cp>\u003ca href=\"http://www.newmindspace.com/\" target=\"_blank\" rel=\"noopener\">Newmindspace\u003c/a>, which has been organizing large-scale events in 2005, first launched their Light Battle Tour events in 2007 at the \u003ca href=\"https://www.youtube.com/watch?v=DCV4EK7hVkU\" target=\"_blank\" rel=\"noopener\">Royal Ontario Museum\u003c/a> in Toronto and has since expanded to over ten cities across the United States.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Cats in Space Tour kicks off in Downtown San Jose’s St. James Park on Saturday, Apr. 30. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://recordsetter.com/world-record/global-lightsaber-battle/45244\" target=\"_blank\" rel=\"noopener\">world record-breaking\u003c/a> Light Battle Tour, which drew large crowds during its stop in the Embarcadero’s Sue Bierman Park \u003ca href=\"http://www.ktvu.com/news/58937866-story\" target=\"_blank\" rel=\"noopener\">last December\u003c/a>, will now be known as \u003ca href=\"https://catsinspacetour.com/\" target=\"_blank\" rel=\"noopener\">Cats in Space Tour\u003c/a> after a legal settlement with trademark holder Lucasfilm, according to an \u003ca href=\"https://catsinspacetour.com/blogs/news/118143171-statement-re-legal-settlement-with-lucasfilm-cats-in-space-launch\" target=\"_blank\" rel=\"noopener\">announcement\u003c/a> on the event’s website.\u003c/p>\n\u003cp>According to the post, the \u003ca href=\"http://ww2.kqed.org/news/2012/10/30/disney-buys-lucasfilm-and-makes-a-star-wars-sequel\" target=\"_blank\" rel=\"noopener\">Disney-helmed Lucasfilm\u003c/a> first approached Canadian non-profit \u003ca href=\"http://www.newmindspace.com/\" target=\"_blank\" rel=\"noopener\">Newmindspace\u003c/a> with a cease-and-desist in January over the use of the words the words “lightsaber,” “Jedi,” “Sith,” and “The Force.” Then in March, they followed up with another notice over the similarity of the name “Light Battle Tour” to the company’s trademark.\u003c/p>\n\u003cp>As per the settlement, event coordinators re-branded the event to “Cats in Space Tour,” but assure attendees that previous registrations will still be honored and that the event shall proceed as usual. The battle between Space Cats and Space Mice rages on, with the inclusion of the weapon that is clearly not a lightsaber, but a “cat blade”.\u003c/p>\n\u003cfigure id=\"attachment_11488074\" class=\"wp-caption alignnone\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11488074\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/cat-blade-600x600.jpg\" alt=\"Registration for the Cats in Space Tour run from $10 to $25 per person and include memorabilia and a dollar donation to Make-A-Wish. \" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/cat-blade.jpg 900w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Registration for the Cats in Space Tour run from $10 to $25 per person and include memorabilia and a dollar donation to Make-A-Wish. \u003ccite>(Photo: Courtesy of Cats in Space Tour. )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Cats in Space is a fun, playful series of Space Battles where participants can fight with fantasy weapons, laser guns, and more, while enjoying original artwork on T-shirts that benefit charity,” co-founder Kevin Bracken states in the post.\u003c/p>\n\u003cp>\u003ca href=\"http://www.newmindspace.com/\" target=\"_blank\" rel=\"noopener\">Newmindspace\u003c/a>, which has been organizing large-scale events in 2005, first launched their Light Battle Tour events in 2007 at the \u003ca href=\"https://www.youtube.com/watch?v=DCV4EK7hVkU\" target=\"_blank\" rel=\"noopener\">Royal Ontario Museum\u003c/a> in Toronto and has since expanded to over ten cities across the United States.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Cats in Space Tour kicks off in Downtown San Jose’s St. James Park on Saturday, Apr. 30. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Lost In Translation: Study Finds Interpretation Of Emojis Can Vary Widely",
"title": "Lost In Translation: Study Finds Interpretation Of Emojis Can Vary Widely",
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"content": "\u003cp>Emojis were supposed to be the great equalizer: a language all its own capable of transcending borders and cultural differences.\u003c/p>\n\u003cp>Not so fast, say a group of researchers who \u003ca href=\"http://grouplens.org/site-content/uploads/Emoji_Interpretation.pdf\">found that different people had vastly different interpretations of some popular emojis\u003c/a>. The researchers published their findings for GroupLens, a research lab based out of the Department of Computer Science and Engineering at the University of Minnesota, Twin Cities.\u003c/p>\n\u003cp>\"I think some people thought that they could use [emojis] with little risk and what we found is that it actually is at high risk of miscommunication,\" Hannah Miller, a Ph.D. student at the University of Minnesota and one of the authors of the study, said in a phone interview.\u003c/p>\n\u003cp>For example, the researchers found that when people receive the \"face with tears of joy\" emoji — \u003ca href=\"http://blog.oxforddictionaries.com/2015/11/word-of-the-year-2015-emoji/\">which Oxford Dictionaries declared its word of the year\u003c/a> — some interpret it positively, while others will interpret it negatively.\u003c/p>\n\u003cp>\"We find that only 4.5 percent of emoji symbols we examined have consistently low variance in their sentiment interpretations,\" the researchers write. \"Conversely, in 25 percent of the cases where participants rated the same rendering, they did not agree on whether the sentiment was positive, neutral, or negative.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This, the researchers found, only gets more complicated when you're texting across platforms, because the same emojis are rendered differently on an iPhone than they are on a Samsung Galaxy, for example.\u003c/p>\n\u003cp>Via Miller, here's how \"grinning face with smiling eyes\" would look on each platform and how the study's subjects interpreted it:\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_22322\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/sentimentavg-grinningfacewsmilingeyes-1024x411_custom-8c652f86c97ccad8823571bb49075f90cdec29df-s800-c85.png\" rel=\"attachment wp-att-22322\">\u003cimg class=\"size-full wp-image-22322\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/sentimentavg-grinningfacewsmilingeyes-1024x411_custom-8c652f86c97ccad8823571bb49075f90cdec29df-s800-c85.png\" alt='(Photo: <a href=\"http://grouplens.org/blog/investigating-the-potential-for-miscommunication-using-emoji/\">grouplens</a>)' width=\"800\" height=\"321\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/sentimentavg-grinningfacewsmilingeyes-1024x411_custom-8c652f86c97ccad8823571bb49075f90cdec29df-s800-c85.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/sentimentavg-grinningfacewsmilingeyes-1024x411_custom-8c652f86c97ccad8823571bb49075f90cdec29df-s800-c85-400x161.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/sentimentavg-grinningfacewsmilingeyes-1024x411_custom-8c652f86c97ccad8823571bb49075f90cdec29df-s800-c85-768x308.png 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">This graphic shows how the same emoji is interpreted on different platforms.\u003cbr>(Photo: \u003ca href=\"http://grouplens.org/blog/investigating-the-potential-for-miscommunication-using-emoji/\">grouplens\u003c/a>)\u003c/figcaption>\u003c/figure>\n\u003cp>And here is an example of how that may work out in a real-life conversation:\u003c/p>\n\u003cfigure id=\"attachment_22321\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/acrosstextconversation-cropped-1-768x404_custom-6cbe3f89950c9fcf00e6ffb7fea06df90c7d0fb4-s800-c85.png\" rel=\"attachment wp-att-22321\">\u003cimg class=\"size-full wp-image-22321\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/acrosstextconversation-cropped-1-768x404_custom-6cbe3f89950c9fcf00e6ffb7fea06df90c7d0fb4-s800-c85.png\" alt='How a real-life conversation could go when people interpret an emoticon differently.(Photo: <a href=\"http://grouplens.org/blog/investigating-the-potential-for-miscommunication-using-emoji/\">grouplens</a>)' width=\"768\" height=\"403\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/acrosstextconversation-cropped-1-768x404_custom-6cbe3f89950c9fcf00e6ffb7fea06df90c7d0fb4-s800-c85.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/acrosstextconversation-cropped-1-768x404_custom-6cbe3f89950c9fcf00e6ffb7fea06df90c7d0fb4-s800-c85-400x210.png 400w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">How a real-life conversation could go when people interpret an emoticon differently.(Photo: \u003ca href=\"http://grouplens.org/blog/investigating-the-potential-for-miscommunication-using-emoji/\">grouplens\u003c/a>)\u003c/figcaption>\u003c/figure>\n\u003cp>Jacob Thebault-Spieker, a PhD student at the University of Minnesota and another of the study's authors, said maybe part of the confusion comes from the newness of the language.\u003c/p>\n\u003cp>\"The understanding that we have from theory suggests that people build shared meaning of communication and interaction over time,\" he said. \"These are new. People are building up their new norms within a group of friends or within a geographic region or perhaps even within a culture and those things may start to even out over time.\"\u003c/p>\n\u003cp>One thing that could help, said Miller, is a dictionary or in this case \u003ca href=\"http://emojipedia.org/\">emojipedia.com\u003c/a>, the authority on the meaning of emojis.\u003c/p>\n\u003cp>If that doesn't work, you can stick to old fashioned emoticons 🙁\u003c/p>\n\u003cp>Those are less likely to be misconstrued.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We'll leave you with a graphic from the paper that ranks how misconstrued emojis are across platforms. From left to right, it shows most misconstrued to least misconstrued:\u003c/p>\n\u003cfigure id=\"attachment_22320\" class=\"wp-caption aligncenter\" style=\"max-width: 716px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/across-platform_custom-87fd4dd677dd92b5f5d1f08bc77de4a4bc68fbcd-s800-c85.png\" rel=\"attachment wp-att-22320\">\u003cimg class=\"size-full wp-image-22320\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/across-platform_custom-87fd4dd677dd92b5f5d1f08bc77de4a4bc68fbcd-s800-c85.png\" alt='A graphic ranking misconstrued emojis across platforms. (Photo: <a href=\"http://grouplens.org/blog/investigating-the-potential-for-miscommunication-using-emoji/\">grouplens</a>)' width=\"716\" height=\"307\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/across-platform_custom-87fd4dd677dd92b5f5d1f08bc77de4a4bc68fbcd-s800-c85.png 716w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/across-platform_custom-87fd4dd677dd92b5f5d1f08bc77de4a4bc68fbcd-s800-c85-400x172.png 400w\" sizes=\"(max-width: 716px) 100vw, 716px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A graphic ranking misconstrued emojis across platforms.\u003cbr>(Photo: \u003ca href=\"http://grouplens.org/blog/investigating-the-potential-for-miscommunication-using-emoji/\">grouplens\u003c/a>)\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lost+In+Translation%3A+Study+Finds+Interpretation+Of+Emojis+Can+Vary+Widely+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "That sweaty smiley face emoji may be positive to some of your friends and negative to others. And depending on who you're texting it may appear entirely different on their device.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Emojis were supposed to be the great equalizer: a language all its own capable of transcending borders and cultural differences.\u003c/p>\n\u003cp>Not so fast, say a group of researchers who \u003ca href=\"http://grouplens.org/site-content/uploads/Emoji_Interpretation.pdf\">found that different people had vastly different interpretations of some popular emojis\u003c/a>. The researchers published their findings for GroupLens, a research lab based out of the Department of Computer Science and Engineering at the University of Minnesota, Twin Cities.\u003c/p>\n\u003cp>\"I think some people thought that they could use [emojis] with little risk and what we found is that it actually is at high risk of miscommunication,\" Hannah Miller, a Ph.D. student at the University of Minnesota and one of the authors of the study, said in a phone interview.\u003c/p>\n\u003cp>For example, the researchers found that when people receive the \"face with tears of joy\" emoji — \u003ca href=\"http://blog.oxforddictionaries.com/2015/11/word-of-the-year-2015-emoji/\">which Oxford Dictionaries declared its word of the year\u003c/a> — some interpret it positively, while others will interpret it negatively.\u003c/p>\n\u003cp>\"We find that only 4.5 percent of emoji symbols we examined have consistently low variance in their sentiment interpretations,\" the researchers write. \"Conversely, in 25 percent of the cases where participants rated the same rendering, they did not agree on whether the sentiment was positive, neutral, or negative.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This, the researchers found, only gets more complicated when you're texting across platforms, because the same emojis are rendered differently on an iPhone than they are on a Samsung Galaxy, for example.\u003c/p>\n\u003cp>Via Miller, here's how \"grinning face with smiling eyes\" would look on each platform and how the study's subjects interpreted it:\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_22322\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/sentimentavg-grinningfacewsmilingeyes-1024x411_custom-8c652f86c97ccad8823571bb49075f90cdec29df-s800-c85.png\" rel=\"attachment wp-att-22322\">\u003cimg class=\"size-full wp-image-22322\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/sentimentavg-grinningfacewsmilingeyes-1024x411_custom-8c652f86c97ccad8823571bb49075f90cdec29df-s800-c85.png\" alt='(Photo: <a href=\"http://grouplens.org/blog/investigating-the-potential-for-miscommunication-using-emoji/\">grouplens</a>)' width=\"800\" height=\"321\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/sentimentavg-grinningfacewsmilingeyes-1024x411_custom-8c652f86c97ccad8823571bb49075f90cdec29df-s800-c85.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/sentimentavg-grinningfacewsmilingeyes-1024x411_custom-8c652f86c97ccad8823571bb49075f90cdec29df-s800-c85-400x161.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/sentimentavg-grinningfacewsmilingeyes-1024x411_custom-8c652f86c97ccad8823571bb49075f90cdec29df-s800-c85-768x308.png 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">This graphic shows how the same emoji is interpreted on different platforms.\u003cbr>(Photo: \u003ca href=\"http://grouplens.org/blog/investigating-the-potential-for-miscommunication-using-emoji/\">grouplens\u003c/a>)\u003c/figcaption>\u003c/figure>\n\u003cp>And here is an example of how that may work out in a real-life conversation:\u003c/p>\n\u003cfigure id=\"attachment_22321\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/acrosstextconversation-cropped-1-768x404_custom-6cbe3f89950c9fcf00e6ffb7fea06df90c7d0fb4-s800-c85.png\" rel=\"attachment wp-att-22321\">\u003cimg class=\"size-full wp-image-22321\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/acrosstextconversation-cropped-1-768x404_custom-6cbe3f89950c9fcf00e6ffb7fea06df90c7d0fb4-s800-c85.png\" alt='How a real-life conversation could go when people interpret an emoticon differently.(Photo: <a href=\"http://grouplens.org/blog/investigating-the-potential-for-miscommunication-using-emoji/\">grouplens</a>)' width=\"768\" height=\"403\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/acrosstextconversation-cropped-1-768x404_custom-6cbe3f89950c9fcf00e6ffb7fea06df90c7d0fb4-s800-c85.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/acrosstextconversation-cropped-1-768x404_custom-6cbe3f89950c9fcf00e6ffb7fea06df90c7d0fb4-s800-c85-400x210.png 400w\" sizes=\"(max-width: 768px) 100vw, 768px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">How a real-life conversation could go when people interpret an emoticon differently.(Photo: \u003ca href=\"http://grouplens.org/blog/investigating-the-potential-for-miscommunication-using-emoji/\">grouplens\u003c/a>)\u003c/figcaption>\u003c/figure>\n\u003cp>Jacob Thebault-Spieker, a PhD student at the University of Minnesota and another of the study's authors, said maybe part of the confusion comes from the newness of the language.\u003c/p>\n\u003cp>\"The understanding that we have from theory suggests that people build shared meaning of communication and interaction over time,\" he said. \"These are new. People are building up their new norms within a group of friends or within a geographic region or perhaps even within a culture and those things may start to even out over time.\"\u003c/p>\n\u003cp>One thing that could help, said Miller, is a dictionary or in this case \u003ca href=\"http://emojipedia.org/\">emojipedia.com\u003c/a>, the authority on the meaning of emojis.\u003c/p>\n\u003cp>If that doesn't work, you can stick to old fashioned emoticons 🙁\u003c/p>\n\u003cp>Those are less likely to be misconstrued.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We'll leave you with a graphic from the paper that ranks how misconstrued emojis are across platforms. From left to right, it shows most misconstrued to least misconstrued:\u003c/p>\n\u003cfigure id=\"attachment_22320\" class=\"wp-caption aligncenter\" style=\"max-width: 716px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/across-platform_custom-87fd4dd677dd92b5f5d1f08bc77de4a4bc68fbcd-s800-c85.png\" rel=\"attachment wp-att-22320\">\u003cimg class=\"size-full wp-image-22320\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/across-platform_custom-87fd4dd677dd92b5f5d1f08bc77de4a4bc68fbcd-s800-c85.png\" alt='A graphic ranking misconstrued emojis across platforms. (Photo: <a href=\"http://grouplens.org/blog/investigating-the-potential-for-miscommunication-using-emoji/\">grouplens</a>)' width=\"716\" height=\"307\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/across-platform_custom-87fd4dd677dd92b5f5d1f08bc77de4a4bc68fbcd-s800-c85.png 716w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/across-platform_custom-87fd4dd677dd92b5f5d1f08bc77de4a4bc68fbcd-s800-c85-400x172.png 400w\" sizes=\"(max-width: 716px) 100vw, 716px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A graphic ranking misconstrued emojis across platforms.\u003cbr>(Photo: \u003ca href=\"http://grouplens.org/blog/investigating-the-potential-for-miscommunication-using-emoji/\">grouplens\u003c/a>)\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lost+In+Translation%3A+Study+Finds+Interpretation+Of+Emojis+Can+Vary+Widely+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The infamous “Donald Trump with a Micropenis” portrait, created by artist and Bay Area native Ashley “Illma” Gore, went on display at a gallery in London last week after she was unable to find a gallery in the U.S. to exhibit it.\u003c/p>\n\u003cp>Gore, who is based in Los Angeles but grew up in San Francisco and Australia, created the portrait titled “Make America Great Again” back in February of this year. She posted a picture of it on Facebook and it ended up being shared 50 million times in three days. It also led to her being \u003ca href=\"http://ww2.kqed.org/arts/2016/03/29/license-to-illma-naked-trump-portrait-gets-artist-banned-from-facebook-ebay/\" target=\"_blank\" rel=\"noopener\">banned from Facebook and eBay,\u003c/a> as well as being harassed and threatened online. \u003c/p>\n\u003cp>Apparently she’s been \u003ca href=\"https://www.facebook.com/tomfoolery.art/\" target=\"_blank\" rel=\"noopener\">allowed back on Facebook\u003c/a> because on April 9 she posted \u003ca href=\"https://www.facebook.com/ITVLondon/videos/10153511644687944/\" target=\"_blank\" rel=\"noopener\">a news report from ITV London\u003c/a> discussing how her piece is on display at the Maddox Gallery in London’s Mayfair area for the next two weeks. \u003c/p>\n\u003cp>“They reached out to me, despite all the controversy, and said, ‘We’d love to show it in London,’ which was a relief to me,” Gore told ITV London.\u003c/p>\n\u003cp>Questions about when Gore’s Facebook ban was lifted have not yet been returned. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The infamous “Donald Trump with a Micropenis” portrait, created by artist and Bay Area native Ashley “Illma” Gore, went on display at a gallery in London last week after she was unable to find a gallery in the U.S. to exhibit it.\u003c/p>\n\u003cp>Gore, who is based in Los Angeles but grew up in San Francisco and Australia, created the portrait titled “Make America Great Again” back in February of this year. She posted a picture of it on Facebook and it ended up being shared 50 million times in three days. It also led to her being \u003ca href=\"http://ww2.kqed.org/arts/2016/03/29/license-to-illma-naked-trump-portrait-gets-artist-banned-from-facebook-ebay/\" target=\"_blank\" rel=\"noopener\">banned from Facebook and eBay,\u003c/a> as well as being harassed and threatened online. \u003c/p>\n\u003cp>Apparently she’s been \u003ca href=\"https://www.facebook.com/tomfoolery.art/\" target=\"_blank\" rel=\"noopener\">allowed back on Facebook\u003c/a> because on April 9 she posted \u003ca href=\"https://www.facebook.com/ITVLondon/videos/10153511644687944/\" target=\"_blank\" rel=\"noopener\">a news report from ITV London\u003c/a> discussing how her piece is on display at the Maddox Gallery in London’s Mayfair area for the next two weeks. \u003c/p>\n\u003cp>“They reached out to me, despite all the controversy, and said, ‘We’d love to show it in London,’ which was a relief to me,” Gore told ITV London.\u003c/p>\n\u003cp>Questions about when Gore’s Facebook ban was lifted have not yet been returned. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In his competitive diving career, four-time Olympic diving gold medalist and five-time world champion Greg Louganis has been all over the world. Now he'll be in one place that's eluded him for years: your kitchen table.\u003c/p>\n\u003cp>Wheaties announced that Louganis — who is \u003ca href=\"http://greglouganis.com/category/activist/\">openly gay and HIV-positive\u003c/a> — along with two other former Olympians, hurdler Edwin Moses and swimmer Janet Evans, will be featured on the cereal boxes as part of the revamped \"legends\" series.\u003c/p>\n\u003cp>In a 2015 HBO documentary called \u003cem>Back on Board: Greg Louganis,\u003c/em> the diver said he understood that he wasn't featured on the Wheaties box during the prime of his career in the 1980s because he didn't fit the company's requirement of a \"wholesome image,\" as he was rumored to be gay. He came out publicly about his sexual identity and HIV-positive status in 1995.\u003c/p>\n\u003cp>Louganis says he is glad to finally be getting the recognition.\u003c/p>\n\u003cfigure id=\"attachment_108487\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/04/evans_custom-2121964c31ad0f4327bdd3db4373a7251c24b80f-400x618.jpg\" alt=\"Janet Evans is one of the greatest women's distance swimmers in U.S. history..\" width=\"400\" height=\"618\" class=\"size-thumbnail wp-image-108487\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/04/evans_custom-2121964c31ad0f4327bdd3db4373a7251c24b80f-400x618.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/04/evans_custom-2121964c31ad0f4327bdd3db4373a7251c24b80f-800x1236.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/04/evans_custom-2121964c31ad0f4327bdd3db4373a7251c24b80f-768x1187.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/04/evans_custom-2121964c31ad0f4327bdd3db4373a7251c24b80f-1440x2225.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/04/evans_custom-2121964c31ad0f4327bdd3db4373a7251c24b80f-1180x1823.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/04/evans_custom-2121964c31ad0f4327bdd3db4373a7251c24b80f-960x1483.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Janet Evans is one of the greatest women's distance swimmers in U.S. history.. \u003ccite>(Courtesy Of General Mills)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"[It's] so incredible to be honored with the likes of Edwin Moses — we were in our first Olympic games in 1976 together,\" Louganis told NPR's \u003cem>All Things Considered\u003c/em>. \"Janet Evans — we trained at Mission Viejo together — I watched her grow up.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Louganis became the only man to sweep the \u003ca href=\"http://www.olympic.org/gregory-louganis\">Olympic diving events\u003c/a> in back-to-back games when he won gold medals in both springboard and platform diving in the '84 and '88 Olympics. He's now a role model for other athletes including British Olympic diver Tom Daley, who came out as gay when he was around 20 years old.\u003c/p>\n\u003cp>\"I would have always wanted someone like him as a role model on the front of a cereal box,\" Daley told NPR's Ari Shapiro. \"He's a great model and forever will be the greatest diver to walk this earth.\"\u003c/p>\n\u003cp>General Mills spokesman Mike Siemienas told NPR he couldn't provide an answer as to why Louganis wasn't on the box previously because no one who was involved in those decisions still worked at the company. Siemienas said a committee is responsible for determining which athletes are on the boxes.\u003c/p>\n\u003cfigure id=\"attachment_108488\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/04/edwin_custom-b94f08722c2d731521067ca48d5a09ba94dad083-400x618.jpg\" alt=\"Edwin Moses was a three-time world champion in the 400-meter hurdles.\" width=\"400\" height=\"618\" class=\"size-thumbnail wp-image-108488\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/04/edwin_custom-b94f08722c2d731521067ca48d5a09ba94dad083-400x618.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/04/edwin_custom-b94f08722c2d731521067ca48d5a09ba94dad083-800x1236.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/04/edwin_custom-b94f08722c2d731521067ca48d5a09ba94dad083-768x1187.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/04/edwin_custom-b94f08722c2d731521067ca48d5a09ba94dad083-1440x2225.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/04/edwin_custom-b94f08722c2d731521067ca48d5a09ba94dad083-1180x1823.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/04/edwin_custom-b94f08722c2d731521067ca48d5a09ba94dad083-960x1483.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Edwin Moses was a three-time world champion in the 400-meter hurdles. \u003ccite>(Courtesy Of General Mills)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wheaties unveiled the \"legends\" cereal boxes after the documentary detailing Louganis' athletic career and experiences as a gay man sparked a petition on \u003ca href=\"https://www.change.org/p/general-mills-put-greg-louganis-on-the-wheaties-box\">Change.org\u003c/a> to get the diver on the iconic Wheaties cereal box. Created by Julie Sondgerath, who had never met Louganis, the petition garnered nearly 45,000 signatures.\u003c/p>\n\u003cp>Wheaties told NPR that the petition did not factor into the decision to put Louganis on a Wheaties box.\u003c/p>\n\u003cp>\"We were aware of the petition, as we see this all the time from fans wanting their favorite athlete on the box,\" Siemienas said. \"But appearing on a Wheaties box is not a popularity contest. Wheaties chooses athletes based on their achievements on and off their field of play.\"\u003c/p>\n\u003cp>As for Louganis, he says that he appreciates the honor more now than he would have in the 1980s.\u003c/p>\n\u003cp>\"Back in '95, I wasn't expected to live very long because we thought of HIV-AIDS as a death sentence, so to be here today, now 56, the box means so much more to me than it would have then because I feel like I'm being embraced as a whole person, not just for my athletic achievements.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2016 \u003ca href=\"http://www.npr.org/\" target=\"_blank\">NPR\u003c/a>.\u003c/em> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In his competitive diving career, four-time Olympic diving gold medalist and five-time world champion Greg Louganis has been all over the world. Now he'll be in one place that's eluded him for years: your kitchen table.\u003c/p>\n\u003cp>Wheaties announced that Louganis — who is \u003ca href=\"http://greglouganis.com/category/activist/\">openly gay and HIV-positive\u003c/a> — along with two other former Olympians, hurdler Edwin Moses and swimmer Janet Evans, will be featured on the cereal boxes as part of the revamped \"legends\" series.\u003c/p>\n\u003cp>In a 2015 HBO documentary called \u003cem>Back on Board: Greg Louganis,\u003c/em> the diver said he understood that he wasn't featured on the Wheaties box during the prime of his career in the 1980s because he didn't fit the company's requirement of a \"wholesome image,\" as he was rumored to be gay. He came out publicly about his sexual identity and HIV-positive status in 1995.\u003c/p>\n\u003cp>Louganis says he is glad to finally be getting the recognition.\u003c/p>\n\u003cfigure id=\"attachment_108487\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/04/evans_custom-2121964c31ad0f4327bdd3db4373a7251c24b80f-400x618.jpg\" alt=\"Janet Evans is one of the greatest women's distance swimmers in U.S. history..\" width=\"400\" height=\"618\" class=\"size-thumbnail wp-image-108487\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/04/evans_custom-2121964c31ad0f4327bdd3db4373a7251c24b80f-400x618.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/04/evans_custom-2121964c31ad0f4327bdd3db4373a7251c24b80f-800x1236.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/04/evans_custom-2121964c31ad0f4327bdd3db4373a7251c24b80f-768x1187.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/04/evans_custom-2121964c31ad0f4327bdd3db4373a7251c24b80f-1440x2225.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/04/evans_custom-2121964c31ad0f4327bdd3db4373a7251c24b80f-1180x1823.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/04/evans_custom-2121964c31ad0f4327bdd3db4373a7251c24b80f-960x1483.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Janet Evans is one of the greatest women's distance swimmers in U.S. history.. \u003ccite>(Courtesy Of General Mills)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"[It's] so incredible to be honored with the likes of Edwin Moses — we were in our first Olympic games in 1976 together,\" Louganis told NPR's \u003cem>All Things Considered\u003c/em>. \"Janet Evans — we trained at Mission Viejo together — I watched her grow up.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Louganis became the only man to sweep the \u003ca href=\"http://www.olympic.org/gregory-louganis\">Olympic diving events\u003c/a> in back-to-back games when he won gold medals in both springboard and platform diving in the '84 and '88 Olympics. He's now a role model for other athletes including British Olympic diver Tom Daley, who came out as gay when he was around 20 years old.\u003c/p>\n\u003cp>\"I would have always wanted someone like him as a role model on the front of a cereal box,\" Daley told NPR's Ari Shapiro. \"He's a great model and forever will be the greatest diver to walk this earth.\"\u003c/p>\n\u003cp>General Mills spokesman Mike Siemienas told NPR he couldn't provide an answer as to why Louganis wasn't on the box previously because no one who was involved in those decisions still worked at the company. Siemienas said a committee is responsible for determining which athletes are on the boxes.\u003c/p>\n\u003cfigure id=\"attachment_108488\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg src=\"http://ww2.kqed.org/bayareabites/wp-content/uploads/sites/24/2016/04/edwin_custom-b94f08722c2d731521067ca48d5a09ba94dad083-400x618.jpg\" alt=\"Edwin Moses was a three-time world champion in the 400-meter hurdles.\" width=\"400\" height=\"618\" class=\"size-thumbnail wp-image-108488\" srcset=\"https://ww2.kqed.org/app/uploads/sites/24/2016/04/edwin_custom-b94f08722c2d731521067ca48d5a09ba94dad083-400x618.jpg 400w, https://ww2.kqed.org/app/uploads/sites/24/2016/04/edwin_custom-b94f08722c2d731521067ca48d5a09ba94dad083-800x1236.jpg 800w, https://ww2.kqed.org/app/uploads/sites/24/2016/04/edwin_custom-b94f08722c2d731521067ca48d5a09ba94dad083-768x1187.jpg 768w, https://ww2.kqed.org/app/uploads/sites/24/2016/04/edwin_custom-b94f08722c2d731521067ca48d5a09ba94dad083-1440x2225.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/24/2016/04/edwin_custom-b94f08722c2d731521067ca48d5a09ba94dad083-1180x1823.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/24/2016/04/edwin_custom-b94f08722c2d731521067ca48d5a09ba94dad083-960x1483.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Edwin Moses was a three-time world champion in the 400-meter hurdles. \u003ccite>(Courtesy Of General Mills)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wheaties unveiled the \"legends\" cereal boxes after the documentary detailing Louganis' athletic career and experiences as a gay man sparked a petition on \u003ca href=\"https://www.change.org/p/general-mills-put-greg-louganis-on-the-wheaties-box\">Change.org\u003c/a> to get the diver on the iconic Wheaties cereal box. Created by Julie Sondgerath, who had never met Louganis, the petition garnered nearly 45,000 signatures.\u003c/p>\n\u003cp>Wheaties told NPR that the petition did not factor into the decision to put Louganis on a Wheaties box.\u003c/p>\n\u003cp>\"We were aware of the petition, as we see this all the time from fans wanting their favorite athlete on the box,\" Siemienas said. \"But appearing on a Wheaties box is not a popularity contest. Wheaties chooses athletes based on their achievements on and off their field of play.\"\u003c/p>\n\u003cp>As for Louganis, he says that he appreciates the honor more now than he would have in the 1980s.\u003c/p>\n\u003cp>\"Back in '95, I wasn't expected to live very long because we thought of HIV-AIDS as a death sentence, so to be here today, now 56, the box means so much more to me than it would have then because I feel like I'm being embraced as a whole person, not just for my athletic achievements.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2016 \u003ca href=\"http://www.npr.org/\" target=\"_blank\">NPR\u003c/a>.\u003c/em> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Sex, Drugs, and Equal Pay: ‘Wimmen’s Comix’ Get Their Due",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>Underground comics enjoyed a golden age in the late ‘60s and early ‘70s, and the heady, weed-scented thrum of San Francisco was its heartbeat. R. Crumb’s gleefully filthy \u003cem>Zap Comix\u003c/em> premiered in 1968 with a sensibility that worshiped free love, satire and irreverence, and cartoonists like \u003cem>The Fabulous Furry Freak Brothers\u003c/em>’ Gilbert Shelton decided to move west to join in on the fun.\u003c/p>\n\u003cp>Trina Robbins, then a young cartoonist who’d already established herself in New York while drawing comics for underground newspapers, had no sense that her path should be any different when she arrived in the Bay Area in 1970.\u003c/p>\n\u003cfigure id=\"attachment_22252\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-22252 size-medium\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/trina-edit-800x600.gif\" alt=\"trina-edit\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/trina-edit-800x600.gif 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/trina-edit-400x300.gif 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/trina-edit-768x576.gif 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trina Robbins at home in San Francisco.\u003c/figcaption>\u003c/figure>\n\u003cp>“It was all so new and exciting. San Francisco was the mecca of the new underground comics scene,” recalls Robbins, now 77, during an interview at the artwork-filled Duboce Triangle home where she’s lived since 1975. “Unfortunately, when I got here, I discovered that the underground comics scene was a boys’ club.”\u003c/p>\n\u003cp>Her male contemporaries were polite in person, she says, but never quite invited her to their parties -- let alone asked her to collaborate on books with them. “It was ‘no girls allowed.’ I had to do something.”\u003c/p>\n\u003cp>So Robbins rounded up every female artist she could find in the Bay Area, and together, they threw their own damn party.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" loading=\"lazy\" class=\"aligncenter size-full wp-image-22087\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/Screen-Shot-2016-04-08-at-9.02.42-PM.png\" alt=\"Screen Shot 2016-04-08 at 9.02.42 PM\" width=\"497\" height=\"714\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/Screen-Shot-2016-04-08-at-9.02.42-PM.png 497w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/Screen-Shot-2016-04-08-at-9.02.42-PM-400x575.png 400w\" sizes=\"(max-width: 497px) 100vw, 497px\">\u003c/p>\n\u003cp>\u003cem>It Ain’t Me, Babe\u003c/em>, published in July of 1970 by Ron Turner's Last Gasp imprint, was the first collection of comics entirely by women -- some of them women who had never drawn professionally before.\u003c/p>\n\u003cp>Nearly 50 years later, that pioneering 50-cent comic book full of stories about women, for women -- a comic book that helped upend the myth that “girls don’t like comics,” after it sold 40,000 copies in three printings -- serves as the perfect kickoff to \u003cem>The Complete Wimmen’s Comix\u003c/em>, a hefty new two-volume, full-color tome published in January by Fantagraphics.\u003c/p>\n\u003cfigure id=\"attachment_22099\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-22099\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/the-wimmen-1975-800x794.jpg\" alt=\"The women of Wimmen's Comix at a gallery show of their work in 1975, with Last Gasp publisher Ron Turner.\" width=\"800\" height=\"794\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/the-wimmen-1975-800x794.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/the-wimmen-1975-400x397.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/the-wimmen-1975-768x762.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/the-wimmen-1975-1180x1171.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/the-wimmen-1975-960x953.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/the-wimmen-1975-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/the-wimmen-1975-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/the-wimmen-1975-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/the-wimmen-1975-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/the-wimmen-1975-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/the-wimmen-1975.jpg 1353w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The women of Wimmen's Comix at a gallery show of their work in 1975, with Last Gasp publisher Ron Turner.\u003c/figcaption>\u003c/figure>\n\u003cp>The anthology contains all 17 issues of \u003cem>Wimmen’s Comix\u003c/em>, a serialized collection of comics that grew out of \u003cem>It Ain’t Me, Babe\u003c/em> and ran from 1972 to 1992, with a group of 10 women artists in the Bay Area taking turns as editor. Most of these issues have been out of print for decades, so this anthology will actually give them a second life.\u003c/p>\n\u003cp>Robbins, who penned the book's introduction, will appear at Green Apple Books on the Park in San Francisco this Tuesday, April 12 alongside fellow founding artists Lee Marrs, Sharon Rudahl, Caryn Leschen and Kay Rudin to discuss the book, their work, and its impact.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" loading=\"lazy\" class=\"aligncenter size-medium wp-image-22090\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/teenage-abortion-800x721.jpg\" alt=\"teenage-abortion\" width=\"800\" height=\"721\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/teenage-abortion-800x721.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/teenage-abortion-400x361.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/teenage-abortion-768x693.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/teenage-abortion-1440x1299.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/teenage-abortion-1920x1731.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/teenage-abortion-1180x1064.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/teenage-abortion-960x866.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>“We dealt with topics the guys would never, ever deal with,” says Robbins, pointing to first-person stories about back-alley abortions, domestic violence, and equal pay at work. Of course, the women characters of \u003cem>Wimmen’s Comix\u003c/em> have their share of happily casual sex, drugs, and rock ‘n’ roll as well. Conspicuously absent: the preposterously proportioned, overly sexualized and ornamental women so often found in comics by men.\u003c/p>\n\u003cp>“In the early ‘70s, many of the guys’ comics were very misogynistic,” says Robbins. “When I would criticize [their comics] depicting rape as funny, they'd say 'Oh, you just don't have a sense of humor.' So much of our [inspiration] was just saying, ‘Women have to have a voice.’ We have to be able to speak out if we want things to improve.”\u003c/p>\n\u003cfigure id=\"attachment_22207\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-22207\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/wimmens-comix-no-3-1-800x1135.jpg\" alt=\"Lee Marrs\" width=\"800\" height=\"1135\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/wimmens-comix-no-3-1-800x1135.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/wimmens-comix-no-3-1-400x568.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/wimmens-comix-no-3-1-768x1090.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/wimmens-comix-no-3-1.jpg 874w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lee Marrs\u003c/figcaption>\u003c/figure>\n\u003cp>Founding artist Lee Marrs would become well-known for her character and series \u003cem>\u003ca href=\"http://comixjoint.com/pudgegirlblimp.html\" target=\"_blank\" rel=\"noopener\">Pudge, Girl Blimp\u003c/a> -- \u003c/em>in which our protagonist is an awkward, overweight teenage runaway from the Midwest who lands in San Francisco and begins experimenting with drugs, sex, and commune life. Marrs often drew her happily gorging on food.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\"You could draw anything you wanted, you could write anything you wanted. It was a liberating experience -- underground comics seemed wonderful,\" says Marrs, whom Robbins introduced to the underground scene around 1971. \"The fact that there was absolutely no money in it wasn't really clear yet.\"\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_22091\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-22091\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/lee-marrs-wimmens-comix-800x1162.jpg\" alt=\""All In a Day's Work," by Lee Marrs.\" width=\"800\" height=\"1162\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/lee-marrs-wimmens-comix.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/lee-marrs-wimmens-comix-400x581.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/lee-marrs-wimmens-comix-768x1116.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">\"All In a Day's Work,\" by Lee Marrs.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Originally a political cartoonist who aspired to work for a major newspaper, Marrs found fairly soon after college that not one editor would return her calls. She did graphics work instead, and helped found Berkeley's independent journalism organization the Alternative Feature Service. But \"there were just no women political cartoonists in the United States,\" recalls Marrs, now 70, adding that she chalks her freelance successes in that arena up to \"having an ambisexual name.\"\u003c/span>\u003c/p>\n\u003cp>With \u003cem>Wimmen's Comix\u003c/em>, there were no cliques, no unspoken rules: Each issue had a loose theme (Outlaws, The Occult, Disastrous Relationships -- even a 3-D edition.) In each issue, roughly half the book was reserved for any woman who wanted in; the collective solicited contributions on the back page. And every month the editors would meet at someone's house to sift through the submissions.\u003c/p>\n\u003cp>\"It was a lot of work,\" recalls Marrs. \"But \u003cem>Wimmen's Comix\u003c/em> meetings were also where I was introduced to getting stoned [from] brownies. Those made the meetings go really quickly.\"\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" loading=\"lazy\" class=\"aligncenter size-full wp-image-22086\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/Screen-Shot-2016-04-08-at-9.00.09-PM.png\" alt=\"Screen Shot 2016-04-08 at 9.00.09 PM\" width=\"508\" height=\"711\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/Screen-Shot-2016-04-08-at-9.00.09-PM.png 508w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/Screen-Shot-2016-04-08-at-9.00.09-PM-400x560.png 400w\" sizes=\"(max-width: 508px) 100vw, 508px\">\u003c/p>\n\u003cp>Of course, the collective had barely published three issues before they started getting pushback -- from all sides. Alongside commentary from the comics’ creators, the anthology contains excerpts of brutally hilarious hate mail the women received at their P.O. box in Berkeley.\u003c/p>\n\u003cp>“Dear FBI,” begins one letter. “You can’t fool us. Who are you kidding? We see thru your trying to undermine the women’s/Lesbian Movement. We expose you for the dirty filthy infiltrators you are.” There were those in the women’s lib movement who were angry at the spelling of “Wimmen,” Robbins explains -- they wanted the word “men” out of it entirely. (That particular letter was signed “Moonbeam, Labyris [and] Sparkling Star.”)\u003c/p>\n\u003cfigure id=\"attachment_22201\" class=\"wp-caption aligncenter\" style=\"max-width: 786px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-22201\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/wimmenscomix.png\" alt=\"Self-portraits of the founding members of Wimmen's Comix, as appeared in issue #1.\" width=\"786\" height=\"604\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/wimmenscomix.png 786w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/wimmenscomix-400x307.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/wimmenscomix-768x590.png 768w\" sizes=\"(max-width: 786px) 100vw, 786px\">\u003cfigcaption class=\"wp-caption-text\">Self-portraits of the founding members of Wimmen's Comix, as they appeared in issue #1.\u003c/figcaption>\u003c/figure>\n\u003cp>Then there were more concrete hurdles, like the 1973 Supreme Court obscenity ruling that left some booksellers fearful of comics that could be interpreted as pornography, and led \u003cem>Ms. Magazine\u003c/em> to reject \u003cem>Wimmen’s Comix\u003c/em> bid for ad space entirely.\u003c/p>\n\u003cp>In short, the anthology is more than a snapshot of a marginalized community demanding acknowledgment. It’s documentation of a dynamic, often messy movement -- missteps, growing pains and all.\u003c/p>\n\u003cp>The lack of diversity among editors and contributors, for example, is tough to ignore in 2016. “It was all straight, white women,” admits Robbins matter-of-factly. While the submissions became distinctly more professional with each passing year, their creators were still by and large homogenous.\u003c/p>\n\u003cp>“We were called hetero-sexists because we didn’t have any lesbians...until Roberta Gregory sent something in 1974,\" says Robbins, recalling that milestone issue.\u003c/p>\n\u003cp>\"But, \" she insists, \"we just never got any submissions from women of color.” Edna Jundis, a Filipina woman whose work appeared in a handful of issues and drew one cover, was the lone exception Robbins could recall.\u003c/p>\n\u003cfigure id=\"attachment_22193\" class=\"wp-caption aligncenter\" style=\"max-width: 300px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-22193\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/Wimmenscomics02.jpg\" alt=\"Wimmen's Comix cover art by Edna Jundis.\" width=\"300\" height=\"432\">\u003cfigcaption class=\"wp-caption-text\">Wimmen's Comix cover art by Edna Jundis.\u003c/figcaption>\u003c/figure>\n\u003cp>As comics grew into the mainstream as an art form over the course of the '90s and early aughts, so did female artists' representation in the field.\u003c/p>\n\u003cp>After a second wave of editors took the lead, later editions of \u003cem>Wimmen's Comix\u003c/em> featured work by a young \u003ca href=\"https://www.drawnandquarterly.com/author/lynda-barry\" target=\"_blank\" rel=\"noopener\">Lynda Barry\u003c/a>; Alison Bechdel, whose graphic memoir \u003cem>Fun Home\u003c/em> is currently a smash-hit Broadway show touted as the first mainstream musical about a lesbian; and Phoebe Gloeckner, whose semi-autobiographical novel \u003cem>The Diary of a Teenage Girl\u003c/em> was made into a critically acclaimed film last year.\u003c/p>\n\u003cfigure id=\"attachment_22204\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-22204\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/landscape-1457739015-wimmens-comix431bechdel-800x400.jpg\" alt=\"Long before 'Fun Home,' Alison Bechdel penned the strip 'Dykes to Watch Out For.'\" width=\"800\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/landscape-1457739015-wimmens-comix431bechdel-800x400.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/landscape-1457739015-wimmens-comix431bechdel-400x200.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/landscape-1457739015-wimmens-comix431bechdel-768x384.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/landscape-1457739015-wimmens-comix431bechdel-1440x720.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/landscape-1457739015-wimmens-comix431bechdel-1180x590.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/landscape-1457739015-wimmens-comix431bechdel-960x480.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/landscape-1457739015-wimmens-comix431bechdel.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Long before 'Fun Home,' Alison Bechdel penned the strip 'Dykes to Watch Out For.'\u003c/figcaption>\u003c/figure>\n\u003cp>Then, of course, there are the young women artists still on their way up -- women who frequently contact Trina Robbins and Lee Marrs via email and Facebook, who travel to meet them at comics conventions.\u003c/p>\n\u003cp>\"It's\u003cspan style=\"font-weight: 400\"> been really inspiring over the years,\" says Marrs. \"To hear that they’ve been inspired to actually do this work by things they saw us do first -- it really gives you a lift on the low days, when you’re thinking about the presidential campaigns and whatnot.\"\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_22095\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-22095\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/CVlWrPkXAAAsv7V.jpg\" alt='\"Men,\" by Carol Tyler' width=\"600\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/CVlWrPkXAAAsv7V.jpg 600w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/CVlWrPkXAAAsv7V-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/CVlWrPkXAAAsv7V-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/CVlWrPkXAAAsv7V-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/CVlWrPkXAAAsv7V-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/CVlWrPkXAAAsv7V-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/CVlWrPkXAAAsv7V-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">\"Men,\" by Carol Tyler\u003c/figcaption>\u003c/figure>\n\u003cp>And on days like the one earlier this year, when the Angoulême International Comics Festival announced its 30 nominees for the grand prize, the highest honor in comics, and \u003ca href=\"http://ww2.kqed.org/arts/2016/01/06/daniel-clowes-boycotting-comic-award-contest-bereft-of-female-nominees/\" target=\"_blank\" rel=\"noopener\">not one of them was a woman?\u003c/a> (Festival CEO Franck Bondoux said, by way of explanation, that \"there are few women in the history of comics art.\")\u003c/p>\n\u003cp>\"Unbelievable nonsense. It's like they're wearing blinders. The Angoulême guys are Neanderthals,\" says Robbins. \"Actually, Neanderthals do have some intelligence. They're dinosaurs.\"\u003c/p>\n\u003cp>And, like dinosaurs, she points out, the old men currently in charge of that prize won't be around forever. Unfortunately, neither will she. \"I don't know if I'll live to see a day when they're all gone and I'm cackling, still surviving.\"\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" loading=\"lazy\" class=\"aligncenter size-full wp-image-22197\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/wimminslipcase.png\" alt=\"wimminslipcase\" width=\"400\" height=\"547\">\u003c/p>\n\u003cp>In the meantime: \u003ca href=\"http://www.trinarobbins.com/Trina_Robbins/Welcome.html\" target=\"_blank\" rel=\"noopener\">From her blog\u003c/a> to the books she's penned about \u003ca href=\"http://www.trinarobbins.com/Trina_Robbins/Lily_Ren%C3%A9e.html\" target=\"_blank\" rel=\"noopener\">other comics pioneers\u003c/a>, Robbins has devoted her life to celebrating the talented and successful women in her field -- loudly. There are just so many, says the artist, adding that she hopes this anthology will be studied in university classrooms long after she's gone.\u003c/p>\n\u003cp>And if anyone had told Trina Robbins what the next 45 years would bring, on that day in 1970 when she got fed up with the boys' club and decided to call a bunch of girls up instead?\u003c/p>\n\u003cp>\"I would be stunned.\"\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Artists Trina Robbins, Sharon Rudahl, Lee Marrs, Caryn Leschen, and Kay Rudin will discuss\u003c/em> The Complete Wimmen's Comix\u003cem> at \u003ca href=\"http://www.greenapplebooks.com/event/9th-ave-complete-wimmens-comix\" target=\"_blank\" rel=\"noopener\">Green Apple Books on the Park\u003c/a> in San Francisco this Tuesday, April 12 at 7:30 pm. \u003ca href=\"https://www.facebook.com/events/1691317574418205/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"title": "Sex, Drugs, and Equal Pay: ‘Wimmen’s Comix’ Get Their Due | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Underground comics enjoyed a golden age in the late ‘60s and early ‘70s, and the heady, weed-scented thrum of San Francisco was its heartbeat. R. Crumb’s gleefully filthy \u003cem>Zap Comix\u003c/em> premiered in 1968 with a sensibility that worshiped free love, satire and irreverence, and cartoonists like \u003cem>The Fabulous Furry Freak Brothers\u003c/em>’ Gilbert Shelton decided to move west to join in on the fun.\u003c/p>\n\u003cp>Trina Robbins, then a young cartoonist who’d already established herself in New York while drawing comics for underground newspapers, had no sense that her path should be any different when she arrived in the Bay Area in 1970.\u003c/p>\n\u003cfigure id=\"attachment_22252\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-22252 size-medium\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/trina-edit-800x600.gif\" alt=\"trina-edit\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/trina-edit-800x600.gif 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/trina-edit-400x300.gif 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/trina-edit-768x576.gif 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trina Robbins at home in San Francisco.\u003c/figcaption>\u003c/figure>\n\u003cp>“It was all so new and exciting. San Francisco was the mecca of the new underground comics scene,” recalls Robbins, now 77, during an interview at the artwork-filled Duboce Triangle home where she’s lived since 1975. “Unfortunately, when I got here, I discovered that the underground comics scene was a boys’ club.”\u003c/p>\n\u003cp>Her male contemporaries were polite in person, she says, but never quite invited her to their parties -- let alone asked her to collaborate on books with them. “It was ‘no girls allowed.’ I had to do something.”\u003c/p>\n\u003cp>So Robbins rounded up every female artist she could find in the Bay Area, and together, they threw their own damn party.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" loading=\"lazy\" class=\"aligncenter size-full wp-image-22087\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/Screen-Shot-2016-04-08-at-9.02.42-PM.png\" alt=\"Screen Shot 2016-04-08 at 9.02.42 PM\" width=\"497\" height=\"714\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/Screen-Shot-2016-04-08-at-9.02.42-PM.png 497w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/Screen-Shot-2016-04-08-at-9.02.42-PM-400x575.png 400w\" sizes=\"(max-width: 497px) 100vw, 497px\">\u003c/p>\n\u003cp>\u003cem>It Ain’t Me, Babe\u003c/em>, published in July of 1970 by Ron Turner's Last Gasp imprint, was the first collection of comics entirely by women -- some of them women who had never drawn professionally before.\u003c/p>\n\u003cp>Nearly 50 years later, that pioneering 50-cent comic book full of stories about women, for women -- a comic book that helped upend the myth that “girls don’t like comics,” after it sold 40,000 copies in three printings -- serves as the perfect kickoff to \u003cem>The Complete Wimmen’s Comix\u003c/em>, a hefty new two-volume, full-color tome published in January by Fantagraphics.\u003c/p>\n\u003cfigure id=\"attachment_22099\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-22099\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/the-wimmen-1975-800x794.jpg\" alt=\"The women of Wimmen's Comix at a gallery show of their work in 1975, with Last Gasp publisher Ron Turner.\" width=\"800\" height=\"794\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/the-wimmen-1975-800x794.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/the-wimmen-1975-400x397.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/the-wimmen-1975-768x762.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/the-wimmen-1975-1180x1171.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/the-wimmen-1975-960x953.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/the-wimmen-1975-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/the-wimmen-1975-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/the-wimmen-1975-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/the-wimmen-1975-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/the-wimmen-1975-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/the-wimmen-1975.jpg 1353w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The women of Wimmen's Comix at a gallery show of their work in 1975, with Last Gasp publisher Ron Turner.\u003c/figcaption>\u003c/figure>\n\u003cp>The anthology contains all 17 issues of \u003cem>Wimmen’s Comix\u003c/em>, a serialized collection of comics that grew out of \u003cem>It Ain’t Me, Babe\u003c/em> and ran from 1972 to 1992, with a group of 10 women artists in the Bay Area taking turns as editor. Most of these issues have been out of print for decades, so this anthology will actually give them a second life.\u003c/p>\n\u003cp>Robbins, who penned the book's introduction, will appear at Green Apple Books on the Park in San Francisco this Tuesday, April 12 alongside fellow founding artists Lee Marrs, Sharon Rudahl, Caryn Leschen and Kay Rudin to discuss the book, their work, and its impact.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" loading=\"lazy\" class=\"aligncenter size-medium wp-image-22090\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/teenage-abortion-800x721.jpg\" alt=\"teenage-abortion\" width=\"800\" height=\"721\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/teenage-abortion-800x721.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/teenage-abortion-400x361.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/teenage-abortion-768x693.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/teenage-abortion-1440x1299.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/teenage-abortion-1920x1731.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/teenage-abortion-1180x1064.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/teenage-abortion-960x866.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>“We dealt with topics the guys would never, ever deal with,” says Robbins, pointing to first-person stories about back-alley abortions, domestic violence, and equal pay at work. Of course, the women characters of \u003cem>Wimmen’s Comix\u003c/em> have their share of happily casual sex, drugs, and rock ‘n’ roll as well. Conspicuously absent: the preposterously proportioned, overly sexualized and ornamental women so often found in comics by men.\u003c/p>\n\u003cp>“In the early ‘70s, many of the guys’ comics were very misogynistic,” says Robbins. “When I would criticize [their comics] depicting rape as funny, they'd say 'Oh, you just don't have a sense of humor.' So much of our [inspiration] was just saying, ‘Women have to have a voice.’ We have to be able to speak out if we want things to improve.”\u003c/p>\n\u003cfigure id=\"attachment_22207\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-22207\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/wimmens-comix-no-3-1-800x1135.jpg\" alt=\"Lee Marrs\" width=\"800\" height=\"1135\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/wimmens-comix-no-3-1-800x1135.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/wimmens-comix-no-3-1-400x568.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/wimmens-comix-no-3-1-768x1090.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/wimmens-comix-no-3-1.jpg 874w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lee Marrs\u003c/figcaption>\u003c/figure>\n\u003cp>Founding artist Lee Marrs would become well-known for her character and series \u003cem>\u003ca href=\"http://comixjoint.com/pudgegirlblimp.html\" target=\"_blank\" rel=\"noopener\">Pudge, Girl Blimp\u003c/a> -- \u003c/em>in which our protagonist is an awkward, overweight teenage runaway from the Midwest who lands in San Francisco and begins experimenting with drugs, sex, and commune life. Marrs often drew her happily gorging on food.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\"You could draw anything you wanted, you could write anything you wanted. It was a liberating experience -- underground comics seemed wonderful,\" says Marrs, whom Robbins introduced to the underground scene around 1971. \"The fact that there was absolutely no money in it wasn't really clear yet.\"\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_22091\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-22091\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/lee-marrs-wimmens-comix-800x1162.jpg\" alt=\""All In a Day's Work," by Lee Marrs.\" width=\"800\" height=\"1162\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/lee-marrs-wimmens-comix.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/lee-marrs-wimmens-comix-400x581.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/lee-marrs-wimmens-comix-768x1116.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">\"All In a Day's Work,\" by Lee Marrs.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Originally a political cartoonist who aspired to work for a major newspaper, Marrs found fairly soon after college that not one editor would return her calls. She did graphics work instead, and helped found Berkeley's independent journalism organization the Alternative Feature Service. But \"there were just no women political cartoonists in the United States,\" recalls Marrs, now 70, adding that she chalks her freelance successes in that arena up to \"having an ambisexual name.\"\u003c/span>\u003c/p>\n\u003cp>With \u003cem>Wimmen's Comix\u003c/em>, there were no cliques, no unspoken rules: Each issue had a loose theme (Outlaws, The Occult, Disastrous Relationships -- even a 3-D edition.) In each issue, roughly half the book was reserved for any woman who wanted in; the collective solicited contributions on the back page. And every month the editors would meet at someone's house to sift through the submissions.\u003c/p>\n\u003cp>\"It was a lot of work,\" recalls Marrs. \"But \u003cem>Wimmen's Comix\u003c/em> meetings were also where I was introduced to getting stoned [from] brownies. Those made the meetings go really quickly.\"\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" loading=\"lazy\" class=\"aligncenter size-full wp-image-22086\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/Screen-Shot-2016-04-08-at-9.00.09-PM.png\" alt=\"Screen Shot 2016-04-08 at 9.00.09 PM\" width=\"508\" height=\"711\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/Screen-Shot-2016-04-08-at-9.00.09-PM.png 508w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/Screen-Shot-2016-04-08-at-9.00.09-PM-400x560.png 400w\" sizes=\"(max-width: 508px) 100vw, 508px\">\u003c/p>\n\u003cp>Of course, the collective had barely published three issues before they started getting pushback -- from all sides. Alongside commentary from the comics’ creators, the anthology contains excerpts of brutally hilarious hate mail the women received at their P.O. box in Berkeley.\u003c/p>\n\u003cp>“Dear FBI,” begins one letter. “You can’t fool us. Who are you kidding? We see thru your trying to undermine the women’s/Lesbian Movement. We expose you for the dirty filthy infiltrators you are.” There were those in the women’s lib movement who were angry at the spelling of “Wimmen,” Robbins explains -- they wanted the word “men” out of it entirely. (That particular letter was signed “Moonbeam, Labyris [and] Sparkling Star.”)\u003c/p>\n\u003cfigure id=\"attachment_22201\" class=\"wp-caption aligncenter\" style=\"max-width: 786px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-22201\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/wimmenscomix.png\" alt=\"Self-portraits of the founding members of Wimmen's Comix, as appeared in issue #1.\" width=\"786\" height=\"604\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/wimmenscomix.png 786w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/wimmenscomix-400x307.png 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/wimmenscomix-768x590.png 768w\" sizes=\"(max-width: 786px) 100vw, 786px\">\u003cfigcaption class=\"wp-caption-text\">Self-portraits of the founding members of Wimmen's Comix, as they appeared in issue #1.\u003c/figcaption>\u003c/figure>\n\u003cp>Then there were more concrete hurdles, like the 1973 Supreme Court obscenity ruling that left some booksellers fearful of comics that could be interpreted as pornography, and led \u003cem>Ms. Magazine\u003c/em> to reject \u003cem>Wimmen’s Comix\u003c/em> bid for ad space entirely.\u003c/p>\n\u003cp>In short, the anthology is more than a snapshot of a marginalized community demanding acknowledgment. It’s documentation of a dynamic, often messy movement -- missteps, growing pains and all.\u003c/p>\n\u003cp>The lack of diversity among editors and contributors, for example, is tough to ignore in 2016. “It was all straight, white women,” admits Robbins matter-of-factly. While the submissions became distinctly more professional with each passing year, their creators were still by and large homogenous.\u003c/p>\n\u003cp>“We were called hetero-sexists because we didn’t have any lesbians...until Roberta Gregory sent something in 1974,\" says Robbins, recalling that milestone issue.\u003c/p>\n\u003cp>\"But, \" she insists, \"we just never got any submissions from women of color.” Edna Jundis, a Filipina woman whose work appeared in a handful of issues and drew one cover, was the lone exception Robbins could recall.\u003c/p>\n\u003cfigure id=\"attachment_22193\" class=\"wp-caption aligncenter\" style=\"max-width: 300px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-22193\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/Wimmenscomics02.jpg\" alt=\"Wimmen's Comix cover art by Edna Jundis.\" width=\"300\" height=\"432\">\u003cfigcaption class=\"wp-caption-text\">Wimmen's Comix cover art by Edna Jundis.\u003c/figcaption>\u003c/figure>\n\u003cp>As comics grew into the mainstream as an art form over the course of the '90s and early aughts, so did female artists' representation in the field.\u003c/p>\n\u003cp>After a second wave of editors took the lead, later editions of \u003cem>Wimmen's Comix\u003c/em> featured work by a young \u003ca href=\"https://www.drawnandquarterly.com/author/lynda-barry\" target=\"_blank\" rel=\"noopener\">Lynda Barry\u003c/a>; Alison Bechdel, whose graphic memoir \u003cem>Fun Home\u003c/em> is currently a smash-hit Broadway show touted as the first mainstream musical about a lesbian; and Phoebe Gloeckner, whose semi-autobiographical novel \u003cem>The Diary of a Teenage Girl\u003c/em> was made into a critically acclaimed film last year.\u003c/p>\n\u003cfigure id=\"attachment_22204\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-medium wp-image-22204\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/landscape-1457739015-wimmens-comix431bechdel-800x400.jpg\" alt=\"Long before 'Fun Home,' Alison Bechdel penned the strip 'Dykes to Watch Out For.'\" width=\"800\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/landscape-1457739015-wimmens-comix431bechdel-800x400.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/landscape-1457739015-wimmens-comix431bechdel-400x200.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/landscape-1457739015-wimmens-comix431bechdel-768x384.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/landscape-1457739015-wimmens-comix431bechdel-1440x720.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/landscape-1457739015-wimmens-comix431bechdel-1180x590.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/landscape-1457739015-wimmens-comix431bechdel-960x480.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/landscape-1457739015-wimmens-comix431bechdel.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Long before 'Fun Home,' Alison Bechdel penned the strip 'Dykes to Watch Out For.'\u003c/figcaption>\u003c/figure>\n\u003cp>Then, of course, there are the young women artists still on their way up -- women who frequently contact Trina Robbins and Lee Marrs via email and Facebook, who travel to meet them at comics conventions.\u003c/p>\n\u003cp>\"It's\u003cspan style=\"font-weight: 400\"> been really inspiring over the years,\" says Marrs. \"To hear that they’ve been inspired to actually do this work by things they saw us do first -- it really gives you a lift on the low days, when you’re thinking about the presidential campaigns and whatnot.\"\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_22095\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-22095\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/CVlWrPkXAAAsv7V.jpg\" alt='\"Men,\" by Carol Tyler' width=\"600\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/CVlWrPkXAAAsv7V.jpg 600w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/CVlWrPkXAAAsv7V-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/CVlWrPkXAAAsv7V-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/CVlWrPkXAAAsv7V-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/CVlWrPkXAAAsv7V-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/CVlWrPkXAAAsv7V-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/CVlWrPkXAAAsv7V-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">\"Men,\" by Carol Tyler\u003c/figcaption>\u003c/figure>\n\u003cp>And on days like the one earlier this year, when the Angoulême International Comics Festival announced its 30 nominees for the grand prize, the highest honor in comics, and \u003ca href=\"http://ww2.kqed.org/arts/2016/01/06/daniel-clowes-boycotting-comic-award-contest-bereft-of-female-nominees/\" target=\"_blank\" rel=\"noopener\">not one of them was a woman?\u003c/a> (Festival CEO Franck Bondoux said, by way of explanation, that \"there are few women in the history of comics art.\")\u003c/p>\n\u003cp>\"Unbelievable nonsense. It's like they're wearing blinders. The Angoulême guys are Neanderthals,\" says Robbins. \"Actually, Neanderthals do have some intelligence. They're dinosaurs.\"\u003c/p>\n\u003cp>And, like dinosaurs, she points out, the old men currently in charge of that prize won't be around forever. Unfortunately, neither will she. \"I don't know if I'll live to see a day when they're all gone and I'm cackling, still surviving.\"\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" loading=\"lazy\" class=\"aligncenter size-full wp-image-22197\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/wimminslipcase.png\" alt=\"wimminslipcase\" width=\"400\" height=\"547\">\u003c/p>\n\u003cp>In the meantime: \u003ca href=\"http://www.trinarobbins.com/Trina_Robbins/Welcome.html\" target=\"_blank\" rel=\"noopener\">From her blog\u003c/a> to the books she's penned about \u003ca href=\"http://www.trinarobbins.com/Trina_Robbins/Lily_Ren%C3%A9e.html\" target=\"_blank\" rel=\"noopener\">other comics pioneers\u003c/a>, Robbins has devoted her life to celebrating the talented and successful women in her field -- loudly. There are just so many, says the artist, adding that she hopes this anthology will be studied in university classrooms long after she's gone.\u003c/p>\n\u003cp>And if anyone had told Trina Robbins what the next 45 years would bring, on that day in 1970 when she got fed up with the boys' club and decided to call a bunch of girls up instead?\u003c/p>\n\u003cp>\"I would be stunned.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Artists Trina Robbins, Sharon Rudahl, Lee Marrs, Caryn Leschen, and Kay Rudin will discuss\u003c/em> The Complete Wimmen's Comix\u003cem> at \u003ca href=\"http://www.greenapplebooks.com/event/9th-ave-complete-wimmens-comix\" target=\"_blank\" rel=\"noopener\">Green Apple Books on the Park\u003c/a> in San Francisco this Tuesday, April 12 at 7:30 pm. \u003ca href=\"https://www.facebook.com/events/1691317574418205/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Kate Haug Unearths History of Poor People's Campaign in ‘News Today’",
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"content": "\u003cp>Forty-eight years ago today, on April 9, 1968, Martin Luther King, Jr.’s casket made a three-mile journey from Ebenezer Baptist Church in Atlanta, Georgia to a public service at Morehouse College. The \u003ca href=\"https://en.wikipedia.org/wiki/Poor_People%27s_Campaign\" target=\"_blank\" rel=\"noopener\">Poor People’s Campaign\u003c/a>, his unfinished project to unite the nation’s poor across racial lines, was about to begin.\u003c/p>\n\u003cp>In King’s absence, planning and organizing for the PPC continued under the leadership of Rev. Ralph Abernathy, but this movement for economic justice — a little-known aspect of King’s legacy — now sits on a forgotten shelf of history, relegated to memento sales on eBay.\u003c/p>\n\u003cp>Artist and filmmaker Kate Haug wants to refresh our collective memory.\u003c/p>\n\u003cfigure id=\"attachment_11477478\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200.jpg\" alt=\"Kate Haug, Catalog produced for 'News Today.'\" width=\"1200\" height=\"1178\" class=\"size-full wp-image-11477478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200-400x393.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200-611x600.jpg 611w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200-768x754.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200-1180x1158.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200-960x942.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200-75x75.jpg 75w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kate Haug, Catalog produced for ‘News Today.’ \u003ccite>(Courtesy of the artist and Irving Street Projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From April 9 to June 24, Haug’s project \u003ci>News Today: A History of the Poor People’s Campaign in Real Time\u003c/i> occupies the Outer Sunset storefront space \u003ca href=\"http://www.irvingstreetprojects.org/\" target=\"_blank\" rel=\"noopener\">Irving Street Projects\u003c/a> in the form of a deeply researched exhibition of historical visual materials. The small room is filled with framed documents, AP photos, models and reproductions tied to Resurrection City, the massive culmination of the PPC, a 3000-person, six-week-long encampment on the Washington Mall.\u003c/p>\n\u003cp>“My whole goal for the show is to reintroduce this information and recirculate it,” Haug says. She wants the PPC’s tactics and demands — for fair wages, access to health care and education and for the government’s attention to its most vulnerable population instead of a costly overseas war (Vietnam) — to show us the issues our nation faces today are part of an ongoing struggle.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I find the images super inspiring because it makes me feel connected,” Haug says. “It makes me feel like this has been a project that people have been trying to work on and address for decades.”\u003c/p>\n\u003cfigure id=\"attachment_11477479\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail_1200.jpg\" alt=\"Kate Haug, Install view of 'News Today' with model of Resurrection City on the Washington Mall.\" width=\"1200\" height=\"953\" class=\"size-full wp-image-11477479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail_1200-400x318.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail_1200-756x600.jpg 756w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail_1200-768x610.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail_1200-1180x937.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail_1200-960x762.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kate Haug, Install view of ‘News Today’ with model of Resurrection City on the Washington Mall. \u003ccite>(Courtesy of the artist and Irving Street Projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>News Today\u003c/i> functions as a visual timeline of the PPC — beginning with a black and white photograph of \u003ca href=\"https://en.wikipedia.org/wiki/Marian_Wright_Edelman\" target=\"_blank\" rel=\"noopener\">Marion Wright\u003c/a> testifying in 1967 about anti-poverty programs and ending with images of Resurrection City being bulldozed in 1968. Beneath each image in the show, Haug’s precise captions clearly detail the significance of a given historical moment.\u003c/p>\n\u003cp>“I’ve taken a lot of different texts from different sources to underline King’s message,” Haug says. “A lot of his economic message hasn’t been absorbed by general culture and I think it’s a real disservice to his legacy.”\u003c/p>\n\u003cp>The “people” of the campaign, recruited and trained in nonviolent protest by the \u003ca href=\"https://en.wikipedia.org/wiki/Southern_Christian_Leadership_Conference\" target=\"_blank\" rel=\"noopener\">Southern Christian Leadership Conference\u003c/a> (SCLC), came from the poorest parts of the US, many journeying by symbolic mule-led wagons to Washington, D.C.\u003c/p>\n\u003cfigure id=\"attachment_11477481\" class=\"wp-caption alignright\" style=\"max-width: 470px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/newstoday_postcard_1200.jpg\" alt=\"'News Today' exhibition postcard.\" width=\"470\" height=\"640\" class=\"size-full wp-image-11477481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_postcard_1200.jpg 470w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_postcard_1200-400x545.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_postcard_1200-441x600.jpg 441w\" sizes=\"(max-width: 470px) 100vw, 470px\">\u003cfigcaption class=\"wp-caption-text\">‘News Today’ exhibition postcard. \u003ccite>(Courtesy of the artist and Irving Street Projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There, the PPC established 15 acres of plywood and tent housing, a town hall, a food program and sanitation and health facilities beside the Lincoln Memorial Reflecting Pool. Plagued by days of nonstop rain and muddy, damp conditions, the adults journeyed each day without fail to Capitol Hill, the agriculture and welfare departments, to lobby for their economic rights.\u003c/p>\n\u003cp>“We’re all in Washington to make ourselves visible to an America which denies that we exist,” said one white organizer in a June 13, 1968 \u003ci>Jet\u003c/i> magazine article.\u003c/p>\n\u003cp>Haug pays particular attention to the ways in which popular media depicted Resurrection City. A 1968 \u003ci>LIFE\u003c/i> magazine article called the encampment a “scar on the picture-postcard beauty of downtown Washington, D.C.”\u003c/p>\n\u003cp>This and other opinions of the day are available to exhibition visitors in faithful reproductions of \u003ci>Jet\u003c/i>, \u003ci>LIFE\u003c/i> and \u003ci>Look\u003c/i> magazines, printed by artist Raphael Villet for distribution at Haug’s show.\u003c/p>\n\u003cfigure id=\"attachment_11477480\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail2_1200.jpg\" alt=\"Kate Haug, Install view of 'News Today' with model of Resurrection City on the Washington Mall.\" width=\"1200\" height=\"841\" class=\"size-full wp-image-11477480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail2_1200-400x280.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail2_1200-800x561.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail2_1200-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail2_1200-1180x827.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail2_1200-960x673.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kate Haug, Install view of ‘News Today’ with model of Resurrection City on the Washington Mall. \u003ccite>(Courtesy of the artist and Irving Street Projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Haug’s retelling of the PPC, the emotional high point (positioned opposite a panoramic retelling of the emotional and physical devastation following King’s assassination) was Solidarity Day, held on June 19, 1968. Between 50,000 and 100,000 people gathered on the Washington Mall for talks by SCLC leaders, Native American activist Martha Grass and politician Eugene McCarthy.\u003c/p>\n\u003cp>Like any images of a mass social justice gathering, the pictures of Solidarity Day are powerfully optimistic, even today. But five days later, the demonstration’s National Park Service permit expired and Resurrection City “got bulldozed and forgotten,” says Haug. Certain gains were made by the campaign, but nothing at the scale and impact King intended with his “economic bill of rights.”\u003c/p>\n\u003cp>The artist hopes \u003ci>News Today\u003c/i>, filled to the brim with hours of reading material and hundreds of carefully selected images, will inspire visitors to become as passionate about this moment in history as she is. “Because so many people don’t know anything about this, I just wanted to have a forum for people to come in and read these texts,” say Haug.\u003c/p>\n\u003cp>She has no sense of ownership over the material she spend the last year gathering. “Take this information,” she says. “Please.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>News Today: A History of the Poor People’s Campaign in Real Time\u003c/b> opens April 9, 2-4pm and is on view through June 25 on Saturdays 1-5pm, and by appointment. For more information about a series of talks during the exhibition visit \u003ca href=\"http://www.irvingstreetprojects.org/current/\" target=\"_blank\" rel=\"noopener\">irvingstreetprojects.org\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "An exhibition charts a little-known aspect of Martin Luther King's legacy, a campaign for economic justice that took over the Washington Mall exactly 48 years ago.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Forty-eight years ago today, on April 9, 1968, Martin Luther King, Jr.’s casket made a three-mile journey from Ebenezer Baptist Church in Atlanta, Georgia to a public service at Morehouse College. The \u003ca href=\"https://en.wikipedia.org/wiki/Poor_People%27s_Campaign\" target=\"_blank\" rel=\"noopener\">Poor People’s Campaign\u003c/a>, his unfinished project to unite the nation’s poor across racial lines, was about to begin.\u003c/p>\n\u003cp>In King’s absence, planning and organizing for the PPC continued under the leadership of Rev. Ralph Abernathy, but this movement for economic justice — a little-known aspect of King’s legacy — now sits on a forgotten shelf of history, relegated to memento sales on eBay.\u003c/p>\n\u003cp>Artist and filmmaker Kate Haug wants to refresh our collective memory.\u003c/p>\n\u003cfigure id=\"attachment_11477478\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200.jpg\" alt=\"Kate Haug, Catalog produced for 'News Today.'\" width=\"1200\" height=\"1178\" class=\"size-full wp-image-11477478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200-400x393.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200-611x600.jpg 611w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200-768x754.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200-1180x1158.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200-960x942.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_catalog_1200-75x75.jpg 75w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kate Haug, Catalog produced for ‘News Today.’ \u003ccite>(Courtesy of the artist and Irving Street Projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From April 9 to June 24, Haug’s project \u003ci>News Today: A History of the Poor People’s Campaign in Real Time\u003c/i> occupies the Outer Sunset storefront space \u003ca href=\"http://www.irvingstreetprojects.org/\" target=\"_blank\" rel=\"noopener\">Irving Street Projects\u003c/a> in the form of a deeply researched exhibition of historical visual materials. The small room is filled with framed documents, AP photos, models and reproductions tied to Resurrection City, the massive culmination of the PPC, a 3000-person, six-week-long encampment on the Washington Mall.\u003c/p>\n\u003cp>“My whole goal for the show is to reintroduce this information and recirculate it,” Haug says. She wants the PPC’s tactics and demands — for fair wages, access to health care and education and for the government’s attention to its most vulnerable population instead of a costly overseas war (Vietnam) — to show us the issues our nation faces today are part of an ongoing struggle.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I find the images super inspiring because it makes me feel connected,” Haug says. “It makes me feel like this has been a project that people have been trying to work on and address for decades.”\u003c/p>\n\u003cfigure id=\"attachment_11477479\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail_1200.jpg\" alt=\"Kate Haug, Install view of 'News Today' with model of Resurrection City on the Washington Mall.\" width=\"1200\" height=\"953\" class=\"size-full wp-image-11477479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail_1200-400x318.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail_1200-756x600.jpg 756w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail_1200-768x610.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail_1200-1180x937.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail_1200-960x762.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kate Haug, Install view of ‘News Today’ with model of Resurrection City on the Washington Mall. \u003ccite>(Courtesy of the artist and Irving Street Projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>News Today\u003c/i> functions as a visual timeline of the PPC — beginning with a black and white photograph of \u003ca href=\"https://en.wikipedia.org/wiki/Marian_Wright_Edelman\" target=\"_blank\" rel=\"noopener\">Marion Wright\u003c/a> testifying in 1967 about anti-poverty programs and ending with images of Resurrection City being bulldozed in 1968. Beneath each image in the show, Haug’s precise captions clearly detail the significance of a given historical moment.\u003c/p>\n\u003cp>“I’ve taken a lot of different texts from different sources to underline King’s message,” Haug says. “A lot of his economic message hasn’t been absorbed by general culture and I think it’s a real disservice to his legacy.”\u003c/p>\n\u003cp>The “people” of the campaign, recruited and trained in nonviolent protest by the \u003ca href=\"https://en.wikipedia.org/wiki/Southern_Christian_Leadership_Conference\" target=\"_blank\" rel=\"noopener\">Southern Christian Leadership Conference\u003c/a> (SCLC), came from the poorest parts of the US, many journeying by symbolic mule-led wagons to Washington, D.C.\u003c/p>\n\u003cfigure id=\"attachment_11477481\" class=\"wp-caption alignright\" style=\"max-width: 470px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/newstoday_postcard_1200.jpg\" alt=\"'News Today' exhibition postcard.\" width=\"470\" height=\"640\" class=\"size-full wp-image-11477481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_postcard_1200.jpg 470w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_postcard_1200-400x545.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/newstoday_postcard_1200-441x600.jpg 441w\" sizes=\"(max-width: 470px) 100vw, 470px\">\u003cfigcaption class=\"wp-caption-text\">‘News Today’ exhibition postcard. \u003ccite>(Courtesy of the artist and Irving Street Projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There, the PPC established 15 acres of plywood and tent housing, a town hall, a food program and sanitation and health facilities beside the Lincoln Memorial Reflecting Pool. Plagued by days of nonstop rain and muddy, damp conditions, the adults journeyed each day without fail to Capitol Hill, the agriculture and welfare departments, to lobby for their economic rights.\u003c/p>\n\u003cp>“We’re all in Washington to make ourselves visible to an America which denies that we exist,” said one white organizer in a June 13, 1968 \u003ci>Jet\u003c/i> magazine article.\u003c/p>\n\u003cp>Haug pays particular attention to the ways in which popular media depicted Resurrection City. A 1968 \u003ci>LIFE\u003c/i> magazine article called the encampment a “scar on the picture-postcard beauty of downtown Washington, D.C.”\u003c/p>\n\u003cp>This and other opinions of the day are available to exhibition visitors in faithful reproductions of \u003ci>Jet\u003c/i>, \u003ci>LIFE\u003c/i> and \u003ci>Look\u003c/i> magazines, printed by artist Raphael Villet for distribution at Haug’s show.\u003c/p>\n\u003cfigure id=\"attachment_11477480\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail2_1200.jpg\" alt=\"Kate Haug, Install view of 'News Today' with model of Resurrection City on the Washington Mall.\" width=\"1200\" height=\"841\" class=\"size-full wp-image-11477480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail2_1200-400x280.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail2_1200-800x561.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail2_1200-768x538.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail2_1200-1180x827.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/haug_newstoday_installdetail2_1200-960x673.jpg 960w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kate Haug, Install view of ‘News Today’ with model of Resurrection City on the Washington Mall. \u003ccite>(Courtesy of the artist and Irving Street Projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Haug’s retelling of the PPC, the emotional high point (positioned opposite a panoramic retelling of the emotional and physical devastation following King’s assassination) was Solidarity Day, held on June 19, 1968. Between 50,000 and 100,000 people gathered on the Washington Mall for talks by SCLC leaders, Native American activist Martha Grass and politician Eugene McCarthy.\u003c/p>\n\u003cp>Like any images of a mass social justice gathering, the pictures of Solidarity Day are powerfully optimistic, even today. But five days later, the demonstration’s National Park Service permit expired and Resurrection City “got bulldozed and forgotten,” says Haug. Certain gains were made by the campaign, but nothing at the scale and impact King intended with his “economic bill of rights.”\u003c/p>\n\u003cp>The artist hopes \u003ci>News Today\u003c/i>, filled to the brim with hours of reading material and hundreds of carefully selected images, will inspire visitors to become as passionate about this moment in history as she is. “Because so many people don’t know anything about this, I just wanted to have a forum for people to come in and read these texts,” say Haug.\u003c/p>\n\u003cp>She has no sense of ownership over the material she spend the last year gathering. “Take this information,” she says. “Please.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>News Today: A History of the Poor People’s Campaign in Real Time\u003c/b> opens April 9, 2-4pm and is on view through June 25 on Saturdays 1-5pm, and by appointment. For more information about a series of talks during the exhibition visit \u003ca href=\"http://www.irvingstreetprojects.org/current/\" target=\"_blank\" rel=\"noopener\">irvingstreetprojects.org\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Cy and David's Picks: The Racial Politics of Sugar, a Magic Dragon, and The Residents Return",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/04/TDL20160408.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>https://www.youtube.com/watch?v=V1MOH_o7_fE&nohtml5=False\u003c/p>\n\u003cp>\u003cstrong>April 8 & 9:\u003c/strong> Both David and I are a little embarassed to say we both love John Van der Putt, a London born comic and magician, who was a finalist on America’s Got Talent in 2015. His thing is that he wears a really dopey dragon suit, and works under the name Piff the Magic Dragon, with a sidekick — a chihuahua in a matching dragon costume. That’s the embarrassing part. But he has a dry wit and does mind-boggling closeup magic as good as anything Ricky Jay — \u003ca href=\"http://www.pbs.org/wnet/americanmasters/ricky-jay-about-deceptive-practice/3577/\" target=\"_blank\" rel=\"noopener\">an American Master\u003c/a> — has done . It’s also worth checking out his early routines in the British troupe \u003ca href=\"https://vimeo.com/14915804\" target=\"_blank\" rel=\"noopener\">standnotamazed.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11473904\" class=\"wp-caption aligncenter\" style=\"max-width: 387px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11473904\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/db50ce_7614ed8677274151a59968deaffb4676-e1460076647368.png\" alt=\"Ensemble Alcatraz\" width=\"387\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">Ensemble Alcatraz \u003ccite>(Photo: Courtesy of Ensemble Alcatraz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>April 9:\u003c/strong> Ensemble Alcatraz is reuniting. This quintet of medieval music specialists named for the San Francisco Bay Island and the albatross of Iberian folklore was born in the early ’80s, and helped make the Bay Area a center for scholarship in early music. Oh, and they play and sing beautifully. This concert will draw on two sources from the medieval Iberian peninsula: \u003cem>The Cantigas de Santa Maria of Alfonso El Sabio\u003c/em> and \u003cem>The Cantigas de Amigo\u003c/em>. They’re basically folk songs from the troubadour traditions of Iberia about an erotic relationship with the divine, among other things. Harpist Cheryl Ann Fulton says the acoustics are exceptional at the space used for the always wonderful \u003ca href=\"http://liveatmissionblue.com/\" target=\"_blank\" rel=\"noopener\">Live at Mission Blue Series \u003c/a>in Brisbane. Details \u003ca href=\"http://liveatmissionblue.com/alcatraz/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cp>[vimeo 109534009 w=640&h=360]\u003c/p>\n\u003c/aside>\n\u003cp>\u003cstrong>April 14-23:\u003c/strong> Benoît Charest wrote the “gypsy jazz” score for the \u003cem>Triplets of Belleville\u003c/em>, a French animated film that was a pretty big hit back in 2003 — as much for the music as the wacky story, about an elderly woman rescuing her Tour de France riding grandson from the French Mafia. Now Charest will lead what he calls Le Terrible Orchestre de Belleville in a performance of the music at the SF Opera Lab with live sound effects as the film plays. A bicycle wheel apparently plays an important role in the music, so all you Bay Area bicycle commuters should make time for the show. Details \u003ca href=\"http://sfopera.com/sfoperalab/season-one/triplets/#!\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11473908\" class=\"wp-caption aligncenter\" style=\"max-width: 377px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-11473908\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/The-anti-Saccharrites.jpg\" alt=\"The Anti-Saccharrites by James Gillray\" width=\"377\" height=\"285\">\u003cfigcaption class=\"wp-caption-text\">The Anti-Saccharrites by James Gillray \u003ccite>(Photo: Courtesy The Cantor Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through August 15:\u003c/strong> \u003cem>Blood in the Sugar Bowl\u003c/em> is a show at the Cantor Museum about the about the racial politics of sugar in the 17th and 18th centuries. Sugar cane fields in the Caribbean were worked by slaves; a part of the rum, sugar and slave trade that built the New England economy. Graduate students at Stanford put this show together with materials from the Cantor’s collection, including drawings, paintings, and sugar bowls that may never look quite as elegant once you read the story of how the sugar got there. Details for this free show at the Cantor on the Stanford Univ. campus are \u003ca href=\"https://museum.stanford.edu/view/exhibition_sched_new.html\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=youCXyaSlNQ\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 10:\u003c/strong> \u003cem>Shadowland\u003c/em> is the third installment in a rock-opera trilogy of sorts, by\u003ca href=\"https://www.facebook.com/TheOfficialResidents/\" target=\"_blank\" rel=\"noopener\"> the Residents\u003c/a>, that trio of anonymous avant-garde performers who defy all categories. This final installment of the \u003cem>Randy, Chuck & Bob Trilogy\u003c/em> is about birth and reincarnation, but over its 40 years together The Residents and their music have always defied labels easy or complex. A screening of a documentary about The Residents, \u003cem>The Theory of Obscurity,\u003c/em> precedes the concert at the Regency Ballroom in San Francisco, which you’ll details on \u003ca href=\"http://www.theregencyballroom.com/events/detail/306214\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n",
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"excerpt": "A pithy magician who dresses like a dragon, an art show about the dark side of sugar and an animated film score make up this week's Do List.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/04/TDL20160408.mp3\u003cbr>\n\u003c/p>\u003c/aside>\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/V1MOH_o7_fE'\n title='//www.youtube.com/embed/V1MOH_o7_fE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>April 8 & 9:\u003c/strong> Both David and I are a little embarassed to say we both love John Van der Putt, a London born comic and magician, who was a finalist on America’s Got Talent in 2015. His thing is that he wears a really dopey dragon suit, and works under the name Piff the Magic Dragon, with a sidekick — a chihuahua in a matching dragon costume. That’s the embarrassing part. But he has a dry wit and does mind-boggling closeup magic as good as anything Ricky Jay — \u003ca href=\"http://www.pbs.org/wnet/americanmasters/ricky-jay-about-deceptive-practice/3577/\" target=\"_blank\" rel=\"noopener\">an American Master\u003c/a> — has done . It’s also worth checking out his early routines in the British troupe \u003ca href=\"https://vimeo.com/14915804\" target=\"_blank\" rel=\"noopener\">standnotamazed.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11473904\" class=\"wp-caption aligncenter\" style=\"max-width: 387px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11473904\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/db50ce_7614ed8677274151a59968deaffb4676-e1460076647368.png\" alt=\"Ensemble Alcatraz\" width=\"387\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">Ensemble Alcatraz \u003ccite>(Photo: Courtesy of Ensemble Alcatraz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>April 9:\u003c/strong> Ensemble Alcatraz is reuniting. This quintet of medieval music specialists named for the San Francisco Bay Island and the albatross of Iberian folklore was born in the early ’80s, and helped make the Bay Area a center for scholarship in early music. Oh, and they play and sing beautifully. This concert will draw on two sources from the medieval Iberian peninsula: \u003cem>The Cantigas de Santa Maria of Alfonso El Sabio\u003c/em> and \u003cem>The Cantigas de Amigo\u003c/em>. They’re basically folk songs from the troubadour traditions of Iberia about an erotic relationship with the divine, among other things. Harpist Cheryl Ann Fulton says the acoustics are exceptional at the space used for the always wonderful \u003ca href=\"http://liveatmissionblue.com/\" target=\"_blank\" rel=\"noopener\">Live at Mission Blue Series \u003c/a>in Brisbane. Details \u003ca href=\"http://liveatmissionblue.com/alcatraz/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Called a “Mexican terrorist” after a recent show in Arizona, Ana Teresa Fernández’s work is powerful in its command of artistic practice as well as the themes she chooses to tackle.\u003c/p>\n\u003cp>Born in Mexico, Fernández comes from a long line of political activists, “I think it is in my DNA,” she says. Her mother worked as a documentary photographer along the border and her grandfather was incarcerated for taking a political stance. “They influenced the way that I look at the world,” she says.\u003c/p>\n\u003cp>She was recruited to attend the San Francisco Art Institute, where people told her: “You are such a weird creature, how can you not think about going to art school?” Fernández moved to San Francisco a week before 9/11 and found a place she belonged.\u003c/p>\n\u003cfigure id=\"attachment_11468434\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11468434\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Ana-Teresa3-800x533.jpg\" alt='\"Espina\" is meant to symbolize Mexican laborers in the United States who remain outside of the mainstream discourse.' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Ana-Teresa3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Ana-Teresa3-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Ana-Teresa3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Ana-Teresa3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Ana-Teresa3-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Ana-Teresa3-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Espina” is meant to symbolize Mexican laborers in the United States who remain outside of the mainstream discourse. \u003ccite>(Lakshmi Sarah)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fernández remembers walking down the hall on her first visit and feeling mesmerized. “The energy of people being allowed to be themselves,” she says, “that was what really got me so excited.”\u003c/p>\n\u003cp>In a performance art piece called \u003ca href=\"http://anateresafernandez.com/borrando-la-barda-tijuana-mexico/borrando06/\" target=\"_blank\" rel=\"noopener\">\u003cem>Erasing the Border\u003c/em>\u003c/a> she asks, “What would the U.S.-Mexico border fence look like painted sky blue?” The result is an uncanny illusion in which the fence looks like it has been erased.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“My work is not overtly political,” Fernández says. “I try and think of ways I can use myself as a vehicle for expression and try and disseminate the information.” She tells me how she approaches the world from a position of inquiry.\u003c/p>\n\u003cfigure id=\"attachment_11473909\" class=\"wp-caption alignnone\" style=\"max-width: 790px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11473909 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Erasure-3-performance-documentation--790x600.jpg\" alt=\"\" width=\"790\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Erasure-3-performance-documentation--790x600.jpg 790w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Erasure-3-performance-documentation--400x304.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Erasure-3-performance-documentation--768x583.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Erasure-3-performance-documentation--1180x896.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Erasure-3-performance-documentation--960x729.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Erasure-3-performance-documentation-.jpg 1800w\" sizes=\"(max-width: 790px) 100vw, 790px\">\u003cfigcaption class=\"wp-caption-text\">This piece “Erasure 3” (performance documentation) Oil on canvas is based on the artist’s performance art video. \u003ccite>(Courtesy of Gallery Wendi Norris )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The inspiration for \u003ca href=\"http://gallerywendinorris.com/exhibitions/\" target=\"_blank\" rel=\"noopener\">\u003cem>Erasure\u003c/em>\u003c/a> her latest series at Gallery Wendi Norris, is the 2014 disappearance of 43 students in Ayotzinapa, Mexico. \u003cem>Erasure\u003c/em> combines painting, short film and sculpture. The paintings show various parts of a figure painted black and a wooden sculpture at the center of the exhibit is meant to look like a traditional Mexican ladder symbolizing the lack of power and stability many Mexican laborers in the United States face.\u003c/p>\n\u003cp>In an attempt to create dialogue, she looks for opportunities to foster open conversation. “What is this discussion that we need to have about how government treats marginalized communities?” she asks. “Whose voices get pronounced and whose voices are muted?”\u003c/p>\n\u003cp>Since moving to San Francisco, she says hasn’t stopped creating. “I have been working the hustle for many years.” And as an avid surfer, she thrives by the water. “I need to stay level headed about what is important in my life,” she says.\u003c/p>\n\u003cp>Fernández stays afloat by teaching, grant writing, creating art and tango dancing. Her work has been shown internationally at the Tijuana Biennial in Mexico as well as locally at the Yerba Buena Center for the Arts and the Oakland Art Museum.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Despite the fact that she feels San Francisco has been “usurped” and is now an economic landscape beyond reach, every time she travels, she feels lucky to come home to the Bay Area. “I am always getting pushed in terms of my level of acceptance,” she says. “It pushes and challenges me to stay open and aware.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Called a “Mexican terrorist” after a recent show in Arizona, Ana Teresa Fernández’s work is powerful in its command of artistic practice as well as the themes she chooses to tackle.\u003c/p>\n\u003cp>Born in Mexico, Fernández comes from a long line of political activists, “I think it is in my DNA,” she says. Her mother worked as a documentary photographer along the border and her grandfather was incarcerated for taking a political stance. “They influenced the way that I look at the world,” she says.\u003c/p>\n\u003cp>She was recruited to attend the San Francisco Art Institute, where people told her: “You are such a weird creature, how can you not think about going to art school?” Fernández moved to San Francisco a week before 9/11 and found a place she belonged.\u003c/p>\n\u003cfigure id=\"attachment_11468434\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11468434\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Ana-Teresa3-800x533.jpg\" alt='\"Espina\" is meant to symbolize Mexican laborers in the United States who remain outside of the mainstream discourse.' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Ana-Teresa3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Ana-Teresa3-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Ana-Teresa3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Ana-Teresa3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Ana-Teresa3-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Ana-Teresa3-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Espina” is meant to symbolize Mexican laborers in the United States who remain outside of the mainstream discourse. \u003ccite>(Lakshmi Sarah)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fernández remembers walking down the hall on her first visit and feeling mesmerized. “The energy of people being allowed to be themselves,” she says, “that was what really got me so excited.”\u003c/p>\n\u003cp>In a performance art piece called \u003ca href=\"http://anateresafernandez.com/borrando-la-barda-tijuana-mexico/borrando06/\" target=\"_blank\" rel=\"noopener\">\u003cem>Erasing the Border\u003c/em>\u003c/a> she asks, “What would the U.S.-Mexico border fence look like painted sky blue?” The result is an uncanny illusion in which the fence looks like it has been erased.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“My work is not overtly political,” Fernández says. “I try and think of ways I can use myself as a vehicle for expression and try and disseminate the information.” She tells me how she approaches the world from a position of inquiry.\u003c/p>\n\u003cfigure id=\"attachment_11473909\" class=\"wp-caption alignnone\" style=\"max-width: 790px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11473909 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Erasure-3-performance-documentation--790x600.jpg\" alt=\"\" width=\"790\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Erasure-3-performance-documentation--790x600.jpg 790w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Erasure-3-performance-documentation--400x304.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Erasure-3-performance-documentation--768x583.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Erasure-3-performance-documentation--1180x896.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Erasure-3-performance-documentation--960x729.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Erasure-3-performance-documentation-.jpg 1800w\" sizes=\"(max-width: 790px) 100vw, 790px\">\u003cfigcaption class=\"wp-caption-text\">This piece “Erasure 3” (performance documentation) Oil on canvas is based on the artist’s performance art video. \u003ccite>(Courtesy of Gallery Wendi Norris )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The inspiration for \u003ca href=\"http://gallerywendinorris.com/exhibitions/\" target=\"_blank\" rel=\"noopener\">\u003cem>Erasure\u003c/em>\u003c/a> her latest series at Gallery Wendi Norris, is the 2014 disappearance of 43 students in Ayotzinapa, Mexico. \u003cem>Erasure\u003c/em> combines painting, short film and sculpture. The paintings show various parts of a figure painted black and a wooden sculpture at the center of the exhibit is meant to look like a traditional Mexican ladder symbolizing the lack of power and stability many Mexican laborers in the United States face.\u003c/p>\n\u003cp>In an attempt to create dialogue, she looks for opportunities to foster open conversation. “What is this discussion that we need to have about how government treats marginalized communities?” she asks. “Whose voices get pronounced and whose voices are muted?”\u003c/p>\n\u003cp>Since moving to San Francisco, she says hasn’t stopped creating. “I have been working the hustle for many years.” And as an avid surfer, she thrives by the water. “I need to stay level headed about what is important in my life,” she says.\u003c/p>\n\u003cp>Fernández stays afloat by teaching, grant writing, creating art and tango dancing. Her work has been shown internationally at the Tijuana Biennial in Mexico as well as locally at the Yerba Buena Center for the Arts and the Oakland Art Museum.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Despite the fact that she feels San Francisco has been “usurped” and is now an economic landscape beyond reach, every time she travels, she feels lucky to come home to the Bay Area. “I am always getting pushed in terms of my level of acceptance,” she says. “It pushes and challenges me to stay open and aware.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
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