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"content": "\u003cp>\u003cem>\u003cstrong>Content warning:\u003c/strong> This story contains graphic depictions of sexual harassment, racism and violence.\u003c/em>\u003c/p>\n\u003cp>At last, a reckoning with what it’s like to be an Asian American woman has come. It took eight people—six of them Asian women—murdered by a white, male shooter in Atlanta for the rest of America to understand that the hyper-sexualization of Asian American women’s bodies leads to death.\u003c/p>\n\u003cp>Anti-Asian hate crimes are on the rise.\u003c/p>\n\u003cp>The organization Stop AAPI Hate \u003ca href=\"https://a1w.90d.myftpupload.com/wp-content/uploads/2021/03/210312-Stop-AAPI-Hate-National-Report-.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">counted 3,795 hate incidents\u003c/a> from all 50 states and Washington D.C. from March 2020 to February 2021. Verbal harassment make up 68% of them, while physical assault constitutes 11%. Women are 2.3 times more likely to report these kinds of attacks than men. An even more disturbing statistic is that Asian women are the \u003ca href=\"https://www.ilo.org/global/topics/forced-labour/policy-areas/statistics/lang--en/index.htm\" target=\"_blank\" rel=\"noopener noreferrer\">most trafficked group worldwide\u003c/a>.\u003c/p>\n\u003cp>The fetishization of Asian American women is nothing new. The media’s portrayal of Asian women as subservient and/or deviant—in other words, sexual beings created for other people’s erotic fantasies—has clearly been harmful to society at large. Historically, pop culture has only amplified these objectifying stereotypes. From \u003ca href=\"https://nextshark.com/jasmin-brown-asian-nail-salon/\" target=\"_blank\" rel=\"noopener noreferrer\">cheap nail salon jokes\u003c/a> to full mockery \u003ca href=\"https://www.newyorker.com/culture/culture-desk/nice-work-amy-schumer\" target=\"_blank\" rel=\"noopener noreferrer\">reducing Asian women to their genitalia\u003c/a>, Asian American women have been historically used as punchlines.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Prior to writing this article, I \u003ca href=\"https://twitter.com/SosyalGal/status/1372300721803067393?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">tweeted an invitation\u003c/a> for Asian American women to tell me their stories of objectification and harassment, and what came after was a deluge of fierce voices, absolutely defying the subservient stereotypes that have been cast over them. [aside postid='news_11865791']\u003c/p>\n\u003cp>Deep in the flood of stories were common tropes and slurs: “Ling Ling,” “Oriental chick,” “Tiger Lily,” “Little China Doll,” “Geisha,” the “mail-order bride.” A woman wrote that after she moved to San Francisco, she was asked very casually among a group of “friends” if her vagina was as small as her eyes. Another woman from Charleston, South Carolina claimed that somebody suggested she should work at Forever 21 because “they loved Orientals there.”\u003c/p>\n\u003cp>Other women shared that they were repeatedly described as “exotic” and subjected to off-the-cuff remarks about Asian women’s genitalia (one woman shared that on a first date she was asked if she was one of those “hairless Asians”). They recalled too many sexually degrading comments to count (“You look like a pornstar I know,” “You’re my first Asian,” “Your body is so tempting,” “Speak Asian to me while we have sex,” “I’d like to eat some Chinese takeout tonight,” “I’d like to catch Yellow Fever”). As a Filipina myself, these damaging insults were so difficult to read.\u003c/p>\n\u003cfigure id=\"attachment_13894381\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894381\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Image-from-iOS-1-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Image-from-iOS-1-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Image-from-iOS-1-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Image-from-iOS-1-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Image-from-iOS-1-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Image-from-iOS-1-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Image-from-iOS-1-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Image-from-iOS-1-1920x1278.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A demonstrator holds a sign that says, “Protect our Mothers, Fathers, Grandmas, Grandpas” during a vigil and rally in Chinatown in San Francisco on March 20, 2021. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then there were stories that were much more atrocious. Stories that hit close to home for me. A stalking incident so horrible the woman still remembers the sound of her stalker’s footsteps. Others described dodging certain neighborhoods and businesses out of fear for their safety. And even in their workplaces, the sexualization followed them.\u003c/p>\n\u003cp>A woman shared with KQED, “At an office job I had, the CEO accidentally copied me on an email he sent his friends with the subject line ‘Happy Friday.’ Over a dozen photos of naked Asian women in the body of the email. At 20, I didn’t speak up like I should have. I was too scared of losing my job and income, good health insurance, a job that was flexible with my work schedule, was afraid no one would believe me. When my boss came to my cubicle to ‘apologize,’ he told me to delete the email in front of him.”\u003c/p>\n\u003cp>Another woman recalled meeting an elected official at a professional event. “I stuck my hand out and instead of shaking my hand, he put his arm around me and said to a group of colleagues: ‘Hey, look at me, I’m Woody Allen and I love Asian women.’”\u003c/p>\n\u003cp>Let’s be clear: these sexual jokes open the doors for dehumanization that leads to people like the Atlanta gunman to think of us as objects meant to fulfill their sexual fantasies.\u003c/p>\n\u003cp>Eroticizing our existence reconstructs our bodies into sexual objects. Summarizing the existence of Asian American women in a comedic sketch or a stereotype decimates the agency we fight to have over our bodies. It steals our childhood, our girlhood and our womanhood.\u003c/p>\n\u003cp>The podcast \u003ca href=\"https://thisfilipinoamericanlife.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>This Filipino American Life\u003c/em>\u003c/a> recently delved into how racial fetishization of Asian women is rooted in “European and American imperialism of Asia dating back more than 100 years. Military occupation has shaped and informed the ‘R&R’ economies at Subic and Clark in the Philippines, the global sex trafficking industry and low-wage work at massage parlors in the United States.” A Filipino shared with KQED, “One time I was on vacation at a resort in Clark, Pampanga. In the restaurant, two uniformed American servicemen approached us and asked us, ‘How much?’ We didn’t understand at the time that they thought we were prostitutes. We were around 15 at the time. One serviceman said to the other, ‘I don’t think they’re…you know.’ His friend scoffed and said, ‘You haven’t been here long. They’ll all do it for enough money.’”\u003c/p>\n\u003cp>These stomach-churning stories speak volumes about the everyday atrocities Asian American women experience. [aside postid='arts_13892437']\u003c/p>\n\u003cp>It took a white male murderer for America to hear us. Asian Americans have been here for centuries, and Asian women have been marginalized, dehumanized and brutalized throughout that entire time.\u003c/p>\n\u003cp>I am enraged that Asian women have constantly been treated as objects under the white gaze. I am exhausted knowing that the majority of these hate crimes were not immediately reported in the media because they were not seen as breaking news.\u003c/p>\n\u003cp>But the time has come for the awakening of the Asian American woman. Our headline-worthy stories were never meant to be sidelined. Though the threads of our cultures are different, when woven together, the tapestry of our unified bond as Asian American women is immutable. We were not born to be anyone’s objects for on-demand pleasure. We are not punchlines or punching bags. We come from generations of unbreakable women from Asia, and are continually protected by our ancestors. We are women of the mountains, the seas, the islands, the rice fields and more. We will not be erased.\u003c/p>\n\u003cp>If you’re an Asian American woman and you’re reading this, I urge you to tell your story. To scream, full-throated, into the digital wild, and find your community in person too. We’re waiting to listen, honor and cherish your existence.\u003c/p>\n\u003ch2>Additional Resources:\u003c/h2>\n\u003cp>\u003ca href=\"https://anti-asianviolenceresources.carrd.co/\" target=\"_blank\" rel=\"noopener noreferrer\">Anti-Asian Violence Resources\u003c/a> offers a list of educational resources, places to donate and mental health support for Asian Americans.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/aapiwomenlead/\" target=\"_blank\" rel=\"noopener noreferrer\">AAPI Women Lead\u003c/a> organizes racial and gender justice campaigns.\u003c/p>\n\u003cp>\u003ca href=\"https://advancingjustice-aajc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Asian Americans Advancing Justice\u003c/a> advocates for Asian Americans’ civil rights and builds AAPI political power.\u003c/p>\n\u003cp>\u003ca href=\"https://compassioninoakland.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Compassion in Oakland\u003c/a> organizes volunteers to escort elders on walks in Oakland Chinatown.\u003c/p>\n\u003cp>\u003ca href=\"https://www.chinatowncdc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Chinatown Community Development Center\u003c/a> offers affordable housing and advocacy to San Francisco’s Chinatown neighborhood.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/stopaapihate/\" target=\"_blank\" rel=\"noopener noreferrer\">Stop AAPI Hate\u003c/a> takes reports on anti-Asian hate incidents, collects statistics and advocates for victims of crimes.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/oakchinatowncoalition/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Chinatown Coalition\u003c/a> is a network of community groups, businesses, churches and neighbors.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/redcanarysong/\" target=\"_blank\" rel=\"noopener noreferrer\">Red Canary Song\u003c/a> is an activist coalition of Asian sex workers and immigrants in New York City.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/butterflycsw/\">ButterflyCSW\u003c/a> is an Asian and migrant sex worker support network.\u003c/p>\n\u003cp>\u003ca href=\"https://cpasf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Progressive Association\u003c/a> is a coalition of low-income Chinese San Francisco residents advocating for racial and economic justice.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/ebaldc/\">East Bay Asian Local Development Corporation\u003c/a> offers social and financial services and builds affordable housing.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/pinayista/\">Pinayista\u003c/a> is a support network for Filipina women.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/the.drtherapinay/\">Dr.Therapinay\u003c/a> offers mental health resources for the Filipino community.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/beyonkz/\" target=\"_blank\" rel=\"noopener noreferrer\">Bianca Mabute-Louie\u003c/a> is a racial justice consultant and educator focused on Asian America.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/teachandtransform/\" target=\"_blank\" rel=\"noopener noreferrer\">Liz Kleinrock\u003c/a> is an anti-bias, anti-racist educator.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Content warning:\u003c/strong> This story contains graphic depictions of sexual harassment, racism and violence.\u003c/em>\u003c/p>\n\u003cp>At last, a reckoning with what it’s like to be an Asian American woman has come. It took eight people—six of them Asian women—murdered by a white, male shooter in Atlanta for the rest of America to understand that the hyper-sexualization of Asian American women’s bodies leads to death.\u003c/p>\n\u003cp>Anti-Asian hate crimes are on the rise.\u003c/p>\n\u003cp>The organization Stop AAPI Hate \u003ca href=\"https://a1w.90d.myftpupload.com/wp-content/uploads/2021/03/210312-Stop-AAPI-Hate-National-Report-.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">counted 3,795 hate incidents\u003c/a> from all 50 states and Washington D.C. from March 2020 to February 2021. Verbal harassment make up 68% of them, while physical assault constitutes 11%. Women are 2.3 times more likely to report these kinds of attacks than men. An even more disturbing statistic is that Asian women are the \u003ca href=\"https://www.ilo.org/global/topics/forced-labour/policy-areas/statistics/lang--en/index.htm\" target=\"_blank\" rel=\"noopener noreferrer\">most trafficked group worldwide\u003c/a>.\u003c/p>\n\u003cp>The fetishization of Asian American women is nothing new. The media’s portrayal of Asian women as subservient and/or deviant—in other words, sexual beings created for other people’s erotic fantasies—has clearly been harmful to society at large. Historically, pop culture has only amplified these objectifying stereotypes. From \u003ca href=\"https://nextshark.com/jasmin-brown-asian-nail-salon/\" target=\"_blank\" rel=\"noopener noreferrer\">cheap nail salon jokes\u003c/a> to full mockery \u003ca href=\"https://www.newyorker.com/culture/culture-desk/nice-work-amy-schumer\" target=\"_blank\" rel=\"noopener noreferrer\">reducing Asian women to their genitalia\u003c/a>, Asian American women have been historically used as punchlines.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Prior to writing this article, I \u003ca href=\"https://twitter.com/SosyalGal/status/1372300721803067393?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">tweeted an invitation\u003c/a> for Asian American women to tell me their stories of objectification and harassment, and what came after was a deluge of fierce voices, absolutely defying the subservient stereotypes that have been cast over them. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Deep in the flood of stories were common tropes and slurs: “Ling Ling,” “Oriental chick,” “Tiger Lily,” “Little China Doll,” “Geisha,” the “mail-order bride.” A woman wrote that after she moved to San Francisco, she was asked very casually among a group of “friends” if her vagina was as small as her eyes. Another woman from Charleston, South Carolina claimed that somebody suggested she should work at Forever 21 because “they loved Orientals there.”\u003c/p>\n\u003cp>Other women shared that they were repeatedly described as “exotic” and subjected to off-the-cuff remarks about Asian women’s genitalia (one woman shared that on a first date she was asked if she was one of those “hairless Asians”). They recalled too many sexually degrading comments to count (“You look like a pornstar I know,” “You’re my first Asian,” “Your body is so tempting,” “Speak Asian to me while we have sex,” “I’d like to eat some Chinese takeout tonight,” “I’d like to catch Yellow Fever”). As a Filipina myself, these damaging insults were so difficult to read.\u003c/p>\n\u003cfigure id=\"attachment_13894381\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894381\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Image-from-iOS-1-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Image-from-iOS-1-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Image-from-iOS-1-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Image-from-iOS-1-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Image-from-iOS-1-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Image-from-iOS-1-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Image-from-iOS-1-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Image-from-iOS-1-1920x1278.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A demonstrator holds a sign that says, “Protect our Mothers, Fathers, Grandmas, Grandpas” during a vigil and rally in Chinatown in San Francisco on March 20, 2021. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then there were stories that were much more atrocious. Stories that hit close to home for me. A stalking incident so horrible the woman still remembers the sound of her stalker’s footsteps. Others described dodging certain neighborhoods and businesses out of fear for their safety. And even in their workplaces, the sexualization followed them.\u003c/p>\n\u003cp>A woman shared with KQED, “At an office job I had, the CEO accidentally copied me on an email he sent his friends with the subject line ‘Happy Friday.’ Over a dozen photos of naked Asian women in the body of the email. At 20, I didn’t speak up like I should have. I was too scared of losing my job and income, good health insurance, a job that was flexible with my work schedule, was afraid no one would believe me. When my boss came to my cubicle to ‘apologize,’ he told me to delete the email in front of him.”\u003c/p>\n\u003cp>Another woman recalled meeting an elected official at a professional event. “I stuck my hand out and instead of shaking my hand, he put his arm around me and said to a group of colleagues: ‘Hey, look at me, I’m Woody Allen and I love Asian women.’”\u003c/p>\n\u003cp>Let’s be clear: these sexual jokes open the doors for dehumanization that leads to people like the Atlanta gunman to think of us as objects meant to fulfill their sexual fantasies.\u003c/p>\n\u003cp>Eroticizing our existence reconstructs our bodies into sexual objects. Summarizing the existence of Asian American women in a comedic sketch or a stereotype decimates the agency we fight to have over our bodies. It steals our childhood, our girlhood and our womanhood.\u003c/p>\n\u003cp>The podcast \u003ca href=\"https://thisfilipinoamericanlife.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>This Filipino American Life\u003c/em>\u003c/a> recently delved into how racial fetishization of Asian women is rooted in “European and American imperialism of Asia dating back more than 100 years. Military occupation has shaped and informed the ‘R&R’ economies at Subic and Clark in the Philippines, the global sex trafficking industry and low-wage work at massage parlors in the United States.” A Filipino shared with KQED, “One time I was on vacation at a resort in Clark, Pampanga. In the restaurant, two uniformed American servicemen approached us and asked us, ‘How much?’ We didn’t understand at the time that they thought we were prostitutes. We were around 15 at the time. One serviceman said to the other, ‘I don’t think they’re…you know.’ His friend scoffed and said, ‘You haven’t been here long. They’ll all do it for enough money.’”\u003c/p>\n\u003cp>These stomach-churning stories speak volumes about the everyday atrocities Asian American women experience. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It took a white male murderer for America to hear us. Asian Americans have been here for centuries, and Asian women have been marginalized, dehumanized and brutalized throughout that entire time.\u003c/p>\n\u003cp>I am enraged that Asian women have constantly been treated as objects under the white gaze. I am exhausted knowing that the majority of these hate crimes were not immediately reported in the media because they were not seen as breaking news.\u003c/p>\n\u003cp>But the time has come for the awakening of the Asian American woman. Our headline-worthy stories were never meant to be sidelined. Though the threads of our cultures are different, when woven together, the tapestry of our unified bond as Asian American women is immutable. We were not born to be anyone’s objects for on-demand pleasure. We are not punchlines or punching bags. We come from generations of unbreakable women from Asia, and are continually protected by our ancestors. We are women of the mountains, the seas, the islands, the rice fields and more. We will not be erased.\u003c/p>\n\u003cp>If you’re an Asian American woman and you’re reading this, I urge you to tell your story. To scream, full-throated, into the digital wild, and find your community in person too. We’re waiting to listen, honor and cherish your existence.\u003c/p>\n\u003ch2>Additional Resources:\u003c/h2>\n\u003cp>\u003ca href=\"https://anti-asianviolenceresources.carrd.co/\" target=\"_blank\" rel=\"noopener noreferrer\">Anti-Asian Violence Resources\u003c/a> offers a list of educational resources, places to donate and mental health support for Asian Americans.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/aapiwomenlead/\" target=\"_blank\" rel=\"noopener noreferrer\">AAPI Women Lead\u003c/a> organizes racial and gender justice campaigns.\u003c/p>\n\u003cp>\u003ca href=\"https://advancingjustice-aajc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Asian Americans Advancing Justice\u003c/a> advocates for Asian Americans’ civil rights and builds AAPI political power.\u003c/p>\n\u003cp>\u003ca href=\"https://compassioninoakland.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Compassion in Oakland\u003c/a> organizes volunteers to escort elders on walks in Oakland Chinatown.\u003c/p>\n\u003cp>\u003ca href=\"https://www.chinatowncdc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Chinatown Community Development Center\u003c/a> offers affordable housing and advocacy to San Francisco’s Chinatown neighborhood.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/stopaapihate/\" target=\"_blank\" rel=\"noopener noreferrer\">Stop AAPI Hate\u003c/a> takes reports on anti-Asian hate incidents, collects statistics and advocates for victims of crimes.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/oakchinatowncoalition/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Chinatown Coalition\u003c/a> is a network of community groups, businesses, churches and neighbors.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/redcanarysong/\" target=\"_blank\" rel=\"noopener noreferrer\">Red Canary Song\u003c/a> is an activist coalition of Asian sex workers and immigrants in New York City.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/butterflycsw/\">ButterflyCSW\u003c/a> is an Asian and migrant sex worker support network.\u003c/p>\n\u003cp>\u003ca href=\"https://cpasf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Progressive Association\u003c/a> is a coalition of low-income Chinese San Francisco residents advocating for racial and economic justice.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/ebaldc/\">East Bay Asian Local Development Corporation\u003c/a> offers social and financial services and builds affordable housing.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/pinayista/\">Pinayista\u003c/a> is a support network for Filipina women.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/the.drtherapinay/\">Dr.Therapinay\u003c/a> offers mental health resources for the Filipino community.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/beyonkz/\" target=\"_blank\" rel=\"noopener noreferrer\">Bianca Mabute-Louie\u003c/a> is a racial justice consultant and educator focused on Asian America.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Oaklanders Combat Chinatown Attacks with Volunteering, Mutual Aid",
"headTitle": "Oaklanders Combat Chinatown Attacks with Volunteering, Mutual Aid | KQED",
"content": "\u003cp>A disturbing video of a man shoving a 91-year-old elder to the ground in Oakland Chinatown made international headlines, and became a lightning rod in a heated debate about how to best combat anti-Asian racism and promote public safety.\u003c/p>\n\u003cp>Business leaders in Chinatown organized a press conference last Wednesday to put pressure on public officials to increase police foot patrols and surveillance cameras in the area. At the conference, Mayor Libby Schaaf pivoted from the tragedy to decry the movement to \u003ca href=\"https://www.kqed.org/news/11823958/defund-the-police-what-it-means-and-how-bay-area-cities-are-responding\" target=\"_blank\" rel=\"noopener noreferrer\">defund the police\u003c/a>—a call that emanated from racial justice protests last summer in the wake of George Floyd’s killing and police abuses against Black Americans and other people of color.\u003c/p>\n\u003cp>The racial dynamics of the situation are fraught. The Trump administration’s relentless scapegoating of Chinese people for the coronavirus has fueled hate and resentment, and anti-Asian hate crimes \u003ca href=\"https://www.thecut.com/2021/02/the-us-is-seeing-a-massive-spike-in-anti-asian-hate-crimes.html\" target=\"_blank\" rel=\"noopener noreferrer\">spiked across the country\u003c/a> in 2020. Meanwhile, because the \u003ca href=\"https://sanfrancisco.cbslocal.com/2021/02/09/update-suspect-arrested-in-oakland-chinatown-elderly-assaults/\" target=\"_blank\" rel=\"noopener noreferrer\">suspected attackers\u003c/a> in the Oakland Chinatown incident—and \u003ca href=\"https://sanfrancisco.cbslocal.com/2021/02/08/vicha-ratanapakdee-elderly-fatal-assault-suspect-antoine-watson-held-without-bail/\" target=\"_blank\" rel=\"noopener noreferrer\">another in San Francisco\u003c/a> that left an 84-year-old Thai man dead—were Black, racists have flocked to \u003ca href=\"https://twitter.com/OakMorr/status/1357178316315185158?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">social media\u003c/a> to perpetuate a false narrative of Black criminality.\u003c/p>\n\u003cp>The Oakland Police Department’s available data doesn’t conclusively point to a crime spike in Chinatown (according to data obtained by \u003ca href=\"https://oaklandside.org/2021/02/04/mayor-and-city-council-president-collide-over-policing-with-focus-on-crime-in-chinatown/\" target=\"_blank\" rel=\"noopener noreferrer\">Oaklandside\u003c/a>, overall crime reports in OPD’s Patrol Area 1, which includes Chinatown, are down 60% from last January, and robberies are down 40%). But some Chinatown leaders say that a number of attacks and robberies in recent weeks have left the community reeling, and that they need more police presence. [aside postid='arts_13880441,arts_13882499']\u003c/p>\n\u003cp>Other leaders and activists in Oakland Chinatown have taken a different approach: over 40 Asian American organizations from Oakland, San Francisco and around the Bay Area banded together to issue a \u003ca href=\"https://www.facebook.com/cpasf/photos/pcb.10158723682305211/10158723681350211/\" target=\"_blank\" rel=\"noopener noreferrer\">joint statement\u003c/a> calling for non-police safety measures that address crime at the root, such as volunteer neighborhood patrols and more culturally competent and language-accessible support for victims.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Many of the organizations represented in the statement serve working-class families, refugees, immigrants and monolingual elders—the very people who have borne the brunt of the economic fallout of the pandemic and the attendant discrimination. In a press conference yesterday, the organizers called for cross-racial unity and expressed skepticism of solutions that they say over-rely on law enforcement.\u003c/p>\n\u003cp>“In this current moment and historically—I’m just going to be explicit—policing has not meant safety for communities of color or young people,” said Stanley Pun, co-director of \u003ca href=\"https://www.aypal.org/\" target=\"_blank\" rel=\"noopener noreferrer\">AYPAL\u003c/a>, a youth nonprofit based in Oakland Chinatown that works with low-income Asian and Pacific Islander families. “We need to work together from a space of compassion, empathy and understanding to seek justice, not vengeance.”\u003c/p>\n\u003cp>Ener Chiu of the \u003ca href=\"https://ebaldc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">East Bay Asian Local Development Corporation\u003c/a>, an affordable housing nonprofit, highlighted the need for more community ambassador programs like the one his organization established two years ago. It deploys staff to clean trash and graffiti, connects merchants and residents to services and aims to foster a community atmosphere.\u003c/p>\n\u003cp>“It’s difficult to shove a senior citizen to the ground if you see yourself in them, if you have a relationship to them,” said Chiu. “It’s difficult to racially profile someone if you’re not afraid of them—if you’ve played together in our parks and recreation centers. But we need to invest in community safety and infrastructure and spaces and people who can bring those communities together and into relationship.”\u003c/p>\n\u003cp>Meanwhile, other activists and artists around the Bay Area have spoken out in solidarity and created mutual aid campaigns and fundraisers to support Oakland Chinatown’s elders. The \u003ca href=\"http://apen4ej.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Asian Pacific Environmental Network\u003c/a> has started \u003ca href=\"https://www.instagram.com/p/CK8IYzShlSY/\" target=\"_blank\" rel=\"noopener noreferrer\">soliciting volunteers\u003c/a> for a community foot patrol program they call Community Strolling. Volunteers will clean up trash, pass out red envelopes for Lunar New Year and build long-term relationships with residents, businesses and visitors in the hopes of strengthening community ties.\u003c/p>\n\u003cp>https://www.instagram.com/p/CK8IYzShlSY/\u003c/p>\n\u003cp>A group calling themselves \u003ca href=\"https://www.instagram.com/compassioninoakland/\" target=\"_blank\" rel=\"noopener noreferrer\">Compassion in Oakland\u003c/a> is also \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSfe9ao3dUPelXmX-i26bxpsMKGGZl7RnC-yvkilaTTR3pf5lg/viewform\" target=\"_blank\" rel=\"noopener noreferrer\">asking for volunteers\u003c/a> to escort Chinatown’s elders on walks and errands. There are two “Love Our People” rallies planned to condemn the violence in \u003ca href=\"https://actionnetwork.org/events/love-our-people-heal-our-communities\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland on Feb. 13\u003c/a> and \u003ca href=\"https://actionnetwork.org/events/love-our-people-heal-our-communities-sf-hosted-by-ccsj\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco on Feb. 14\u003c/a>. And writer and artist Eda Yu (who occasionally contributes to KQED Arts & Culture) and her partner Myles Thompson have organized a \u003ca href=\"https://www.gofundme.com/f/support-the-cause-against-antiasian-violence/\" target=\"_blank\" rel=\"noopener noreferrer\">GoFundMe\u003c/a> that raised over $120,000 for eight Asian American social justice organizations, including \u003ca href=\"https://stopaapihate.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Stop AAPI Hate\u003c/a> (which supports hate crime victims and advocates for restorative justice) and the \u003ca href=\"https://www.gofundme.com/f/vaccebs-mission-to-continue-the-efforts\" target=\"_blank\" rel=\"noopener noreferrer\">Vietnamese Community Center\u003c/a>, which delivers 30,000 meals a month, mostly to elders. The center burned down last week in an accidental fire.\u003c/p>\n\u003cp>Joining these calls for justice, Oakland rapper and Dope Era Clothing owner Mistah F.A.B. used his platform to advocate for Black and Asian unity in the face of white supremacy. “I can feel the frustration, the rage, the hurt, the hate,” he said on \u003ca href=\"https://www.instagram.com/p/CK46jnAFOmd/\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram\u003c/a>. Addressing the Black and Asian communities, he continued, “Us as the minorities, man, there’s already a war against us. And if we go to war with each other, then it’s more war, and they sit back and they’re laughing at us.”\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Asian American leaders have issued similar pleas. “I’ve seen the pitting of communities against each other,” said Lai Wa Wu of the \u003ca href=\"https://cpasf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Progressive Association\u003c/a>, an organization that supports working-class immigrants, at yesterday’s press conference. “But I have also seen the strength and the hope that have been summoned through the difficult conversations we’ve held, the ways we’ve created space to name our communities’ grief, speak to our ignored needs, let others bear witness and also holding faith in everyone’s potential to heal.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was updated to include information about the “Love Our People” rallies. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A disturbing video of a man shoving a 91-year-old elder to the ground in Oakland Chinatown made international headlines, and became a lightning rod in a heated debate about how to best combat anti-Asian racism and promote public safety.\u003c/p>\n\u003cp>Business leaders in Chinatown organized a press conference last Wednesday to put pressure on public officials to increase police foot patrols and surveillance cameras in the area. At the conference, Mayor Libby Schaaf pivoted from the tragedy to decry the movement to \u003ca href=\"https://www.kqed.org/news/11823958/defund-the-police-what-it-means-and-how-bay-area-cities-are-responding\" target=\"_blank\" rel=\"noopener noreferrer\">defund the police\u003c/a>—a call that emanated from racial justice protests last summer in the wake of George Floyd’s killing and police abuses against Black Americans and other people of color.\u003c/p>\n\u003cp>The racial dynamics of the situation are fraught. The Trump administration’s relentless scapegoating of Chinese people for the coronavirus has fueled hate and resentment, and anti-Asian hate crimes \u003ca href=\"https://www.thecut.com/2021/02/the-us-is-seeing-a-massive-spike-in-anti-asian-hate-crimes.html\" target=\"_blank\" rel=\"noopener noreferrer\">spiked across the country\u003c/a> in 2020. Meanwhile, because the \u003ca href=\"https://sanfrancisco.cbslocal.com/2021/02/09/update-suspect-arrested-in-oakland-chinatown-elderly-assaults/\" target=\"_blank\" rel=\"noopener noreferrer\">suspected attackers\u003c/a> in the Oakland Chinatown incident—and \u003ca href=\"https://sanfrancisco.cbslocal.com/2021/02/08/vicha-ratanapakdee-elderly-fatal-assault-suspect-antoine-watson-held-without-bail/\" target=\"_blank\" rel=\"noopener noreferrer\">another in San Francisco\u003c/a> that left an 84-year-old Thai man dead—were Black, racists have flocked to \u003ca href=\"https://twitter.com/OakMorr/status/1357178316315185158?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">social media\u003c/a> to perpetuate a false narrative of Black criminality.\u003c/p>\n\u003cp>The Oakland Police Department’s available data doesn’t conclusively point to a crime spike in Chinatown (according to data obtained by \u003ca href=\"https://oaklandside.org/2021/02/04/mayor-and-city-council-president-collide-over-policing-with-focus-on-crime-in-chinatown/\" target=\"_blank\" rel=\"noopener noreferrer\">Oaklandside\u003c/a>, overall crime reports in OPD’s Patrol Area 1, which includes Chinatown, are down 60% from last January, and robberies are down 40%). But some Chinatown leaders say that a number of attacks and robberies in recent weeks have left the community reeling, and that they need more police presence. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Other leaders and activists in Oakland Chinatown have taken a different approach: over 40 Asian American organizations from Oakland, San Francisco and around the Bay Area banded together to issue a \u003ca href=\"https://www.facebook.com/cpasf/photos/pcb.10158723682305211/10158723681350211/\" target=\"_blank\" rel=\"noopener noreferrer\">joint statement\u003c/a> calling for non-police safety measures that address crime at the root, such as volunteer neighborhood patrols and more culturally competent and language-accessible support for victims.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Many of the organizations represented in the statement serve working-class families, refugees, immigrants and monolingual elders—the very people who have borne the brunt of the economic fallout of the pandemic and the attendant discrimination. In a press conference yesterday, the organizers called for cross-racial unity and expressed skepticism of solutions that they say over-rely on law enforcement.\u003c/p>\n\u003cp>“In this current moment and historically—I’m just going to be explicit—policing has not meant safety for communities of color or young people,” said Stanley Pun, co-director of \u003ca href=\"https://www.aypal.org/\" target=\"_blank\" rel=\"noopener noreferrer\">AYPAL\u003c/a>, a youth nonprofit based in Oakland Chinatown that works with low-income Asian and Pacific Islander families. “We need to work together from a space of compassion, empathy and understanding to seek justice, not vengeance.”\u003c/p>\n\u003cp>Ener Chiu of the \u003ca href=\"https://ebaldc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">East Bay Asian Local Development Corporation\u003c/a>, an affordable housing nonprofit, highlighted the need for more community ambassador programs like the one his organization established two years ago. It deploys staff to clean trash and graffiti, connects merchants and residents to services and aims to foster a community atmosphere.\u003c/p>\n\u003cp>“It’s difficult to shove a senior citizen to the ground if you see yourself in them, if you have a relationship to them,” said Chiu. “It’s difficult to racially profile someone if you’re not afraid of them—if you’ve played together in our parks and recreation centers. But we need to invest in community safety and infrastructure and spaces and people who can bring those communities together and into relationship.”\u003c/p>\n\u003cp>Meanwhile, other activists and artists around the Bay Area have spoken out in solidarity and created mutual aid campaigns and fundraisers to support Oakland Chinatown’s elders. The \u003ca href=\"http://apen4ej.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Asian Pacific Environmental Network\u003c/a> has started \u003ca href=\"https://www.instagram.com/p/CK8IYzShlSY/\" target=\"_blank\" rel=\"noopener noreferrer\">soliciting volunteers\u003c/a> for a community foot patrol program they call Community Strolling. Volunteers will clean up trash, pass out red envelopes for Lunar New Year and build long-term relationships with residents, businesses and visitors in the hopes of strengthening community ties.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A group calling themselves \u003ca href=\"https://www.instagram.com/compassioninoakland/\" target=\"_blank\" rel=\"noopener noreferrer\">Compassion in Oakland\u003c/a> is also \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSfe9ao3dUPelXmX-i26bxpsMKGGZl7RnC-yvkilaTTR3pf5lg/viewform\" target=\"_blank\" rel=\"noopener noreferrer\">asking for volunteers\u003c/a> to escort Chinatown’s elders on walks and errands. There are two “Love Our People” rallies planned to condemn the violence in \u003ca href=\"https://actionnetwork.org/events/love-our-people-heal-our-communities\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland on Feb. 13\u003c/a> and \u003ca href=\"https://actionnetwork.org/events/love-our-people-heal-our-communities-sf-hosted-by-ccsj\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco on Feb. 14\u003c/a>. And writer and artist Eda Yu (who occasionally contributes to KQED Arts & Culture) and her partner Myles Thompson have organized a \u003ca href=\"https://www.gofundme.com/f/support-the-cause-against-antiasian-violence/\" target=\"_blank\" rel=\"noopener noreferrer\">GoFundMe\u003c/a> that raised over $120,000 for eight Asian American social justice organizations, including \u003ca href=\"https://stopaapihate.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Stop AAPI Hate\u003c/a> (which supports hate crime victims and advocates for restorative justice) and the \u003ca href=\"https://www.gofundme.com/f/vaccebs-mission-to-continue-the-efforts\" target=\"_blank\" rel=\"noopener noreferrer\">Vietnamese Community Center\u003c/a>, which delivers 30,000 meals a month, mostly to elders. The center burned down last week in an accidental fire.\u003c/p>\n\u003cp>Joining these calls for justice, Oakland rapper and Dope Era Clothing owner Mistah F.A.B. used his platform to advocate for Black and Asian unity in the face of white supremacy. “I can feel the frustration, the rage, the hurt, the hate,” he said on \u003ca href=\"https://www.instagram.com/p/CK46jnAFOmd/\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram\u003c/a>. Addressing the Black and Asian communities, he continued, “Us as the minorities, man, there’s already a war against us. And if we go to war with each other, then it’s more war, and they sit back and they’re laughing at us.”\u003c/p>\n\u003cp class=\"p1\">\u003cspan class=\"s1\">Asian American leaders have issued similar pleas. “I’ve seen the pitting of communities against each other,” said Lai Wa Wu of the \u003ca href=\"https://cpasf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Progressive Association\u003c/a>, an organization that supports working-class immigrants, at yesterday’s press conference. “But I have also seen the strength and the hope that have been summoned through the difficult conversations we’ve held, the ways we’ve created space to name our communities’ grief, speak to our ignored needs, let others bear witness and also holding faith in everyone’s potential to heal.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was updated to include information about the “Love Our People” rallies. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "What’s On Your Ballot?: Ruby Ibarra, Rapper and COVID-19 Researcher",
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"headTitle": "What’s On Your Ballot?: Ruby Ibarra, Rapper and COVID-19 Researcher | KQED",
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"content": "\u003cp>\u003ci>In 2020, the United States faces an election like no other. Citizens will vote in the midst of a global pandemic, severe climate change, an uprising for racial justice and an administration that has eroded the norms of democracy. In ‘\u003ca href=\"https://www.kqed.org/arts/tag/whats-on-your-ballot\" target=\"_blank\" rel=\"noopener noreferrer\">What’s on Your Ballot\u003c/a>,’ KQED checks in with ten different artists, activists and cultural figures about the issues on their minds and their hopes for the country.\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">R\u003c/span>uby Ibarra makes transcending boundaries seem normal: During the day, Ibarra works at a biotech company, joining researchers around the world in the fight for a COVID-19 vaccine. Outside her 9-to-5, she’s \u003ca href=\"https://www.rubyibarra.com/\" target=\"_blank\" rel=\"noopener noreferrer\">one of the fiercest rappers in the Bay Area\u003c/a>. In the last few years, the Filipino-American artist has gained a following for her cutting lyrics, commanding rhythmic style and multilingual approach. (Ibarra often flows between English, Tagalog and Waray, a language native to Tacloban City, her hometown in the Philippines.)\u003c/p>\n\u003cp>Beyond her music, Ibarra is politically active on social media, encouraging her followers to take the COVID-19 pandemic seriously, support the Black Lives Matter movement and speak out against repression of civil liberties in the Philippines. For Ibarra, 2020 has illustrated just how intensely this country is riddled with divisions—divisions she hopes can be broken down as we move into November and beyond.\u003cem>—Eda Yu\u003c/em>\u003c/p>\n\u003cp>[aside label=\"From KQED's California Voter Guide\" link1='https://www.kqed.org/voterguide/,KQED 2020 California Voter Guide: All the State Props, All the Bay Area Measures' hero=https://ww2.kqed.org/app/uploads/2020/10/KQED-Election-2020-Aside-CA-Voter-Guide.png]\u003c/p>\n\u003cp>\u003cstrong>As we head into the election, what do you make of the political climate in the United States today?\u003c/strong>\u003c/p>\n\u003cp>Especially for people in my generation, I hope that everyone’s been paying attention to what’s going on in this country—especially in terms of race relations and, more recently, how those in power are approaching this global pandemic. I hope those are factors people consider in this upcoming election.\u003c/p>\n\u003cp>I’m not here to sway anybody’s vote one way or the other. It’s more important to me that everybody goes out to the polls, submits mail-in ballots, and really makes their voice heard in this upcoming election. I see this as the most important election so far in my lifetime. This year has shown how divided this country can be, and I just hope that after the election, we can find more common ground as a nation. I understand that everybody has different beliefs, especially in a melting pot like America, but I do urge people to consider the effects of our votes in a long-term sense. Whatever candidate that you choose, I hope people think about how it’s going to affect everybody else—if it’s going to drive this country into a more positive space—and not to go at it in a selfish way.\u003c/p>\n\u003cp>\u003cstrong>It’s about the long-term, bigger picture consequences of what your actions are right now.\u003c/strong>\u003c/p>\n\u003cp>And I’m not here to say that a vote is going to fix all our problems. As we’ve seen with this current president, it can even mobilize and embolden certain communities in this country that were afraid to speak up before. I just want people to consider the long-term effects of their choices.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SCd3iSfnWSw\u003c/p>\n\u003cp>\u003cstrong>With COVID-19 and intense climate change, this year really highlighted our country’s lack of trust in science. What’s your take on that as a scientist?\u003c/strong>\u003c/p>\n\u003cp>Honestly, how people have approached this pandemic—with people being anti-maskers or even anti-vaxxers—it’s very frustrating for me. Having a background in science, growing up loving the sciences and seeing them as [describing] how the world works, to see this much distrust now confuses me. We need to remember that this isn’t about scientists dictating how we should operate. [Believing in COVID-19] is about public health safety and whether we’re going to be stuck in this pandemic for an additional year. This is a community effort.\u003c/p>\n\u003cp>We all play a part in this pandemic, and [how we behave] will determine how long we’re gonna be in this situation: how long we’re going to be in quarantine, how much longer death rates and infection rates increase. We saw a lot of people [this year] neglecting or dismissing a lot of Dr. Fauci’s comments around how to better protect ourselves. Over and over again, I’ll advise my followers to follow \u003ca href=\"https://www.cdc.gov/coronavirus/2019-ncov/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">the guidelines set by the CDC\u003c/a>. These guidelines were set in place for a reason, and wearing a mask, practicing social distancing—it’s like wearing a seatbelt. You don’t really have to do it. But at the end of the day, it is going to lower the rates of infection.\u003c/p>\n\u003cp>\u003cstrong>What is at stake if people don’t do their part to beat COVID-19?\u003c/strong>\u003c/p>\n\u003cp>What’s at stake is everybody’s lives. Everybody’s safety. Everybody’s freedom to gain any sense of normalcy again. If we continue down this route of people throwing these parties and everybody hanging out with their friends like it’s 2018, we’re really not gonna see much of an improvement. It saddens me when I turn on the news and I see that America is yet again the country with the highest infection and death rates.\u003c/p>\n\u003cfigure id=\"attachment_13887194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13887194 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/D7A9898.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9898.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9898-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9898-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ruby Ibarra: ‘As Asian Americans in this country, we’ve seen the effects of xenophobia from COVID-19 and Trump’s rhetoric when calling it the China virus.’ \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How do you think politics have affected the way we’ve handled COVID-19?\u003c/strong>\u003c/p>\n\u003cp>It’s unfortunate that politics have affected this [outbreak at all]. I honestly don’t know where a lot of this rhetoric came from—of people not only fearing science but also dismissing it or trying to [say] that [COVID-19] is a hoax or something made up to limit people’s freedoms. I don’t know how people are leading their daily lives who have this kind of mentality. But I would like to hope that everybody continues to stay informed and puts aside any biases, any political affiliations that we have, and takes the information that we get from scientists, doctors, the CDC as truths and guidelines to help us.\u003c/p>\n\u003cp>\u003cstrong>Has there been a lot of pressure at work to find a vaccine?\u003c/strong>\u003c/p>\n\u003cp>At the start of this pandemic around March, we did see a very steady incline in work at my job. At the end of March and beginning of April, my company started putting all hands on deck to help with the test kits. Now we’ve been working in collaboration with other companies and researchers in developing this vaccine. [aside postid='arts_13887076']\u003c/p>\n\u003cp>I’m definitely not here to give out promises or deadlines—I know that people are waiting for the vaccine, and I can’t blame them because the thought is very alluring. But in reality, a vaccine takes a lot of time to develop. For other infectious diseases, it’s always taken not only several years but also multiple clinical trials. And now we’re in this rush to be the first researcher, the first country to come up with a vaccine.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I don’t want us to be in that mindset of it being a race because we don’t know what the long-term effects of this initial vaccine will be, given the short span of time that we have to develop this. I also want people to recognize that it’s not just a vaccine that’s going to help us but everybody doing our part with social distancing and wearing masks. And I hope that this will also open the window to discussion where maybe we revisit how we approach these pandemics, especially seeing the disparity in the communities of color who have contracted COVID-19.\u003c/p>\n\u003cfigure id=\"attachment_13887189\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13887189 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/D7A9871.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9871.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9871-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9871-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ruby Ibarra: ‘I think the question of who’s in office shouldn’t determine the rhetoric that we use. How we treat other people. How we approach public health safety.’ \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>As an Asian American, I know you’ve been passionate about raising awareness around what’s happening in the Philippines. Do you see parallels between what’s going on abroad and the social reckoning in the States today?\u003c/strong>\u003c/p>\n\u003cp>There are definitely a lot of parallels—even just with the people who hold power. Time and again people have compared [Filipino President Rodrigo] Duterte and Trump, and in terms of their leadership and their personality, I see the similarities. I’ve been following what’s going on with the terror law, and it’s scary. [Duterte introduced \u003ca href=\"https://www.npr.org/2020/07/21/893019057/why-rights-groups-worry-about-the-philippines-new-anti-terrorism-law\" target=\"_blank\" rel=\"noopener noreferrer\">an anti-terrorism law\u003c/a> in July that has drawn criticism from human rights groups globally.]\u003c/p>\n\u003cp>Being a Filipino in the diaspora, I know that in my community we often feel removed from what’s going on in the Philippines. But it’s important for us to recognize that what happens there still affects us. It’s really frightening to see that people’s freedom of speech and right to dissent are limited. These are very basic rights. So I hope that Filipinos living in America, who have a little more freedom, recognize this and stand up and are more vocal about it.\u003c/p>\n\u003cp>\u003cstrong>Do you feel that artists have a responsibility to use their platform or their work to speak up about social issues?\u003c/strong>\u003c/p>\n\u003cp>Absolutely. I’ve always felt that if I’m not using my platform to speak on things that I’m passionate about, or to speak on things for people who don’t have a voice, then I’m doing my platform a disservice.\u003c/p>\n\u003cp>As Asian Americans in this country, we’ve seen the effects of xenophobia from COVID-19 and Trump’s rhetoric when calling it the “China virus.” If Asian-American influencers and celebrities used their platforms to speak out against the injustices that our community faces, it would at the minimum open up discourse around it. [aside postid='arts_13880441']\u003c/p>\n\u003cp>\u003cstrong>I’ve felt a lot of silence from the Asian American community around racial violence, and I think that bleeds into all social issues—Black Lives Matter is no different. We’ve started to see a change in the last couple months, but I hope that change persists.\u003c/strong>\u003c/p>\n\u003cp>I agree with you. I think the reason for the silence is probably obviously cultural factors: Being Asian American, a lot of us have this mentality to not speak out, keep our heads down and focus on our own lane. Hopefully with the xenophobia that our community has experienced, people do recognize that this discrimination happens to the Black community every single day, and that’s why things like Black Lives Matter exist. We need to build that solidarity with other communities.\u003c/p>\n\u003cfigure id=\"attachment_13887186\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13887186 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/D7A9858.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9858.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9858-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9858-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ruby Ibarra: ‘I want to remind people that it’s OK not to be busy. It’s OK to be still. I think the silver lining that I’ve found in all of this is to be present with my family and friends.’ \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What are some ways you protect your mental health or keep from burning out?\u003c/strong>\u003c/p>\n\u003cp>I’m not gonna lie, I myself have had bouts of anxiety and depression this year. As a performer, I saw every single show that I had [scheduled] this year completely canceled. I’ve been cooped up in my studio, haven’t had too much engagement with friends or people that I usually would see on a daily basis. After that I saw this country evolve into a greater divide. We saw a lot of protests. And now with the upcoming elections, it’s been a very heavy year. It’s important for us to protect our mental health. For those who have been impacted by COVID-19 because of the effects of the pandemic on businesses—if you’ve lost your job, or if you’re now working from home but unable to see other people, just hang in there and remember that we’re all going through it at the same time.\u003c/p>\n\u003cp>This is all new territory—especially for artists out there who are so used to being busy. I want to remind people that it’s OK not to be busy. It’s OK to be still. I think the silver lining that I’ve found in all of this is to be present with my family and friends, whether I’m having those interactions through Zoom or being with my loved ones at home. I’m still very grateful for having those interactions compared to being impacted by the pandemic in terms of my health. So at this point, I think we just need to count our blessings. It’s also important for us to check in with our friends and family, even those that we think are OK, because this pandemic has affected all of us in different ways.\u003c/p>\n\u003cp>\u003cstrong>After the election—no matter how it goes—what are your hopes and goals for the country, and for the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>I think the question of who’s in office shouldn’t determine the rhetoric that we use. How we treat other people. How we approach public health safety. At the end of the day, we need to stop looking at these political figures as the solution to our problem, and we need to stop looking at these political figures as celebrities. I just hope we find less of a divide in this country, post-election, and that we see a lot of empathy.\u003c/p>\n\u003cp>And politics aside, we’re still in the middle of a pandemic. COVID-19 hasn’t gone anywhere. And it’s really important for us to unite not just as a country but as a world. It’s important for us to celebrate our differences and to understand where people are coming from. I think there’s been a lack of empathy this year. I hope to see more of that.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>This interview was edited for length and clarity. Learn more about Ruby Ibarra at her \u003ca href=\"https://www.rubyibarra.com/\" target=\"_blank\" rel=\"noopener noreferrer\">official website\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "When she's not on the mic, Ruby Ibarra works toward developing a COVID-19 vaccine. She talks with KQED about the importance of this election. ",
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"title": "What’s On Your Ballot?: Ruby Ibarra, Rapper and COVID-19 Researcher | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>In 2020, the United States faces an election like no other. Citizens will vote in the midst of a global pandemic, severe climate change, an uprising for racial justice and an administration that has eroded the norms of democracy. In ‘\u003ca href=\"https://www.kqed.org/arts/tag/whats-on-your-ballot\" target=\"_blank\" rel=\"noopener noreferrer\">What’s on Your Ballot\u003c/a>,’ KQED checks in with ten different artists, activists and cultural figures about the issues on their minds and their hopes for the country.\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">R\u003c/span>uby Ibarra makes transcending boundaries seem normal: During the day, Ibarra works at a biotech company, joining researchers around the world in the fight for a COVID-19 vaccine. Outside her 9-to-5, she’s \u003ca href=\"https://www.rubyibarra.com/\" target=\"_blank\" rel=\"noopener noreferrer\">one of the fiercest rappers in the Bay Area\u003c/a>. In the last few years, the Filipino-American artist has gained a following for her cutting lyrics, commanding rhythmic style and multilingual approach. (Ibarra often flows between English, Tagalog and Waray, a language native to Tacloban City, her hometown in the Philippines.)\u003c/p>\n\u003cp>Beyond her music, Ibarra is politically active on social media, encouraging her followers to take the COVID-19 pandemic seriously, support the Black Lives Matter movement and speak out against repression of civil liberties in the Philippines. For Ibarra, 2020 has illustrated just how intensely this country is riddled with divisions—divisions she hopes can be broken down as we move into November and beyond.\u003cem>—Eda Yu\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>As we head into the election, what do you make of the political climate in the United States today?\u003c/strong>\u003c/p>\n\u003cp>Especially for people in my generation, I hope that everyone’s been paying attention to what’s going on in this country—especially in terms of race relations and, more recently, how those in power are approaching this global pandemic. I hope those are factors people consider in this upcoming election.\u003c/p>\n\u003cp>I’m not here to sway anybody’s vote one way or the other. It’s more important to me that everybody goes out to the polls, submits mail-in ballots, and really makes their voice heard in this upcoming election. I see this as the most important election so far in my lifetime. This year has shown how divided this country can be, and I just hope that after the election, we can find more common ground as a nation. I understand that everybody has different beliefs, especially in a melting pot like America, but I do urge people to consider the effects of our votes in a long-term sense. Whatever candidate that you choose, I hope people think about how it’s going to affect everybody else—if it’s going to drive this country into a more positive space—and not to go at it in a selfish way.\u003c/p>\n\u003cp>\u003cstrong>It’s about the long-term, bigger picture consequences of what your actions are right now.\u003c/strong>\u003c/p>\n\u003cp>And I’m not here to say that a vote is going to fix all our problems. As we’ve seen with this current president, it can even mobilize and embolden certain communities in this country that were afraid to speak up before. I just want people to consider the long-term effects of their choices.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/SCd3iSfnWSw'\n title='//www.youtube.com/embed/SCd3iSfnWSw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>With COVID-19 and intense climate change, this year really highlighted our country’s lack of trust in science. What’s your take on that as a scientist?\u003c/strong>\u003c/p>\n\u003cp>Honestly, how people have approached this pandemic—with people being anti-maskers or even anti-vaxxers—it’s very frustrating for me. Having a background in science, growing up loving the sciences and seeing them as [describing] how the world works, to see this much distrust now confuses me. We need to remember that this isn’t about scientists dictating how we should operate. [Believing in COVID-19] is about public health safety and whether we’re going to be stuck in this pandemic for an additional year. This is a community effort.\u003c/p>\n\u003cp>We all play a part in this pandemic, and [how we behave] will determine how long we’re gonna be in this situation: how long we’re going to be in quarantine, how much longer death rates and infection rates increase. We saw a lot of people [this year] neglecting or dismissing a lot of Dr. Fauci’s comments around how to better protect ourselves. Over and over again, I’ll advise my followers to follow \u003ca href=\"https://www.cdc.gov/coronavirus/2019-ncov/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">the guidelines set by the CDC\u003c/a>. These guidelines were set in place for a reason, and wearing a mask, practicing social distancing—it’s like wearing a seatbelt. You don’t really have to do it. But at the end of the day, it is going to lower the rates of infection.\u003c/p>\n\u003cp>\u003cstrong>What is at stake if people don’t do their part to beat COVID-19?\u003c/strong>\u003c/p>\n\u003cp>What’s at stake is everybody’s lives. Everybody’s safety. Everybody’s freedom to gain any sense of normalcy again. If we continue down this route of people throwing these parties and everybody hanging out with their friends like it’s 2018, we’re really not gonna see much of an improvement. It saddens me when I turn on the news and I see that America is yet again the country with the highest infection and death rates.\u003c/p>\n\u003cfigure id=\"attachment_13887194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13887194 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/D7A9898.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9898.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9898-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9898-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ruby Ibarra: ‘As Asian Americans in this country, we’ve seen the effects of xenophobia from COVID-19 and Trump’s rhetoric when calling it the China virus.’ \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How do you think politics have affected the way we’ve handled COVID-19?\u003c/strong>\u003c/p>\n\u003cp>It’s unfortunate that politics have affected this [outbreak at all]. I honestly don’t know where a lot of this rhetoric came from—of people not only fearing science but also dismissing it or trying to [say] that [COVID-19] is a hoax or something made up to limit people’s freedoms. I don’t know how people are leading their daily lives who have this kind of mentality. But I would like to hope that everybody continues to stay informed and puts aside any biases, any political affiliations that we have, and takes the information that we get from scientists, doctors, the CDC as truths and guidelines to help us.\u003c/p>\n\u003cp>\u003cstrong>Has there been a lot of pressure at work to find a vaccine?\u003c/strong>\u003c/p>\n\u003cp>At the start of this pandemic around March, we did see a very steady incline in work at my job. At the end of March and beginning of April, my company started putting all hands on deck to help with the test kits. Now we’ve been working in collaboration with other companies and researchers in developing this vaccine. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I’m definitely not here to give out promises or deadlines—I know that people are waiting for the vaccine, and I can’t blame them because the thought is very alluring. But in reality, a vaccine takes a lot of time to develop. For other infectious diseases, it’s always taken not only several years but also multiple clinical trials. And now we’re in this rush to be the first researcher, the first country to come up with a vaccine.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I don’t want us to be in that mindset of it being a race because we don’t know what the long-term effects of this initial vaccine will be, given the short span of time that we have to develop this. I also want people to recognize that it’s not just a vaccine that’s going to help us but everybody doing our part with social distancing and wearing masks. And I hope that this will also open the window to discussion where maybe we revisit how we approach these pandemics, especially seeing the disparity in the communities of color who have contracted COVID-19.\u003c/p>\n\u003cfigure id=\"attachment_13887189\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13887189 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/D7A9871.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9871.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9871-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9871-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ruby Ibarra: ‘I think the question of who’s in office shouldn’t determine the rhetoric that we use. How we treat other people. How we approach public health safety.’ \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>As an Asian American, I know you’ve been passionate about raising awareness around what’s happening in the Philippines. Do you see parallels between what’s going on abroad and the social reckoning in the States today?\u003c/strong>\u003c/p>\n\u003cp>There are definitely a lot of parallels—even just with the people who hold power. Time and again people have compared [Filipino President Rodrigo] Duterte and Trump, and in terms of their leadership and their personality, I see the similarities. I’ve been following what’s going on with the terror law, and it’s scary. [Duterte introduced \u003ca href=\"https://www.npr.org/2020/07/21/893019057/why-rights-groups-worry-about-the-philippines-new-anti-terrorism-law\" target=\"_blank\" rel=\"noopener noreferrer\">an anti-terrorism law\u003c/a> in July that has drawn criticism from human rights groups globally.]\u003c/p>\n\u003cp>Being a Filipino in the diaspora, I know that in my community we often feel removed from what’s going on in the Philippines. But it’s important for us to recognize that what happens there still affects us. It’s really frightening to see that people’s freedom of speech and right to dissent are limited. These are very basic rights. So I hope that Filipinos living in America, who have a little more freedom, recognize this and stand up and are more vocal about it.\u003c/p>\n\u003cp>\u003cstrong>Do you feel that artists have a responsibility to use their platform or their work to speak up about social issues?\u003c/strong>\u003c/p>\n\u003cp>Absolutely. I’ve always felt that if I’m not using my platform to speak on things that I’m passionate about, or to speak on things for people who don’t have a voice, then I’m doing my platform a disservice.\u003c/p>\n\u003cp>As Asian Americans in this country, we’ve seen the effects of xenophobia from COVID-19 and Trump’s rhetoric when calling it the “China virus.” If Asian-American influencers and celebrities used their platforms to speak out against the injustices that our community faces, it would at the minimum open up discourse around it. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>I’ve felt a lot of silence from the Asian American community around racial violence, and I think that bleeds into all social issues—Black Lives Matter is no different. We’ve started to see a change in the last couple months, but I hope that change persists.\u003c/strong>\u003c/p>\n\u003cp>I agree with you. I think the reason for the silence is probably obviously cultural factors: Being Asian American, a lot of us have this mentality to not speak out, keep our heads down and focus on our own lane. Hopefully with the xenophobia that our community has experienced, people do recognize that this discrimination happens to the Black community every single day, and that’s why things like Black Lives Matter exist. We need to build that solidarity with other communities.\u003c/p>\n\u003cfigure id=\"attachment_13887186\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13887186 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/D7A9858.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9858.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9858-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/D7A9858-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ruby Ibarra: ‘I want to remind people that it’s OK not to be busy. It’s OK to be still. I think the silver lining that I’ve found in all of this is to be present with my family and friends.’ \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What are some ways you protect your mental health or keep from burning out?\u003c/strong>\u003c/p>\n\u003cp>I’m not gonna lie, I myself have had bouts of anxiety and depression this year. As a performer, I saw every single show that I had [scheduled] this year completely canceled. I’ve been cooped up in my studio, haven’t had too much engagement with friends or people that I usually would see on a daily basis. After that I saw this country evolve into a greater divide. We saw a lot of protests. And now with the upcoming elections, it’s been a very heavy year. It’s important for us to protect our mental health. For those who have been impacted by COVID-19 because of the effects of the pandemic on businesses—if you’ve lost your job, or if you’re now working from home but unable to see other people, just hang in there and remember that we’re all going through it at the same time.\u003c/p>\n\u003cp>This is all new territory—especially for artists out there who are so used to being busy. I want to remind people that it’s OK not to be busy. It’s OK to be still. I think the silver lining that I’ve found in all of this is to be present with my family and friends, whether I’m having those interactions through Zoom or being with my loved ones at home. I’m still very grateful for having those interactions compared to being impacted by the pandemic in terms of my health. So at this point, I think we just need to count our blessings. It’s also important for us to check in with our friends and family, even those that we think are OK, because this pandemic has affected all of us in different ways.\u003c/p>\n\u003cp>\u003cstrong>After the election—no matter how it goes—what are your hopes and goals for the country, and for the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>I think the question of who’s in office shouldn’t determine the rhetoric that we use. How we treat other people. How we approach public health safety. At the end of the day, we need to stop looking at these political figures as the solution to our problem, and we need to stop looking at these political figures as celebrities. I just hope we find less of a divide in this country, post-election, and that we see a lot of empathy.\u003c/p>\n\u003cp>And politics aside, we’re still in the middle of a pandemic. COVID-19 hasn’t gone anywhere. And it’s really important for us to unite not just as a country but as a world. It’s important for us to celebrate our differences and to understand where people are coming from. I think there’s been a lack of empathy this year. I hope to see more of that.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>This interview was edited for length and clarity. Learn more about Ruby Ibarra at her \u003ca href=\"https://www.rubyibarra.com/\" target=\"_blank\" rel=\"noopener noreferrer\">official website\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>No industry remains untouched by the economic impact of the coronavirus pandemic, and independent filmmakers, already in a precarious financial state, are no exception. Film festivals have been canceled or rerouted into streaming events; releases have been delayed; the gatherings that allow filmmakers to share ideas, resources and enthusiasm for each others’ projects are all suspended for the foreseeable future. (Will we really be flying to Park City in January 2021?) \u003c/p>\n\u003cp>[aside postID='arts_13884767']And like many industries forced to fill gaps in government spending on health care and coronavirus-related relief funds, the filmmaking community has had to step up to ensure its members can weather this global health crisis and emerge with stories to tell (and the means to do so). \u003c/p>\n\u003cp>To that end, the Center for Asian American Media, with support from the Sundance Institute, is awarding as many as \u003ca href=\"https://caamedia.org/blog/2020/08/13/caam-to-offer-emergency-grants-for-filmmakers-from-the-sundance-institute/?utm_source=MadMimi&utm_medium=email&utm_content=Apply+for+Emergency+Grants+for+Filmmakers+Made+Possible+by+Sundance+Institute&utm_campaign=20200814_m159625399_Apply+for+Emergency+Grants+For+Filmmakers+Made+Possible+By+Sundance+Institute&utm_term=here\" rel=\"noopener noreferrer\" target=\"_blank\">15 emergency grants of up to $1,000 each\u003c/a> to Asian American filmmakers with demonstrated financial needs as a result of the COVID-19 pandemic.\u003c/p>\n\u003cp>The funds come from the $1 million \u003ca href=\"https://www.sundance.org/covid19\" rel=\"noopener noreferrer\" target=\"_blank\">Sundance Institute Respond and Reimagine Plan\u003c/a>, which awarded grants directly to artists, as well as through \u003ca href=\"https://www.artistrelief.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Artist Relief\u003c/a>, and selected organizations to redistribute a remaining $405,000 to artists from historically marginalized communities. Sundance picked 39 grantees across the world, including local media orgs CAAM and Frameline.\u003c/p>\n\u003cp>Applicants for the CAAM emergency grants, among other requirements, must identify as Asian American; cannot be current students; must be directors, producers, cinematographers or editors experiencing dire financial emergencies due to the pandemic; and must have completed at least “one nonfiction film or interactive media project that was publicly exhibited in a curated and/or noncommercial environment.” \u003c/p>\n\u003cp>Applications are due by Monday, Aug. 31. \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSd8SRRSdwVwmJa9_0l_CtalDp1w7bYQKSr2SCeeLjqaZjXTEg/viewform\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>No industry remains untouched by the economic impact of the coronavirus pandemic, and independent filmmakers, already in a precarious financial state, are no exception. Film festivals have been canceled or rerouted into streaming events; releases have been delayed; the gatherings that allow filmmakers to share ideas, resources and enthusiasm for each others’ projects are all suspended for the foreseeable future. (Will we really be flying to Park City in January 2021?) \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And like many industries forced to fill gaps in government spending on health care and coronavirus-related relief funds, the filmmaking community has had to step up to ensure its members can weather this global health crisis and emerge with stories to tell (and the means to do so). \u003c/p>\n\u003cp>To that end, the Center for Asian American Media, with support from the Sundance Institute, is awarding as many as \u003ca href=\"https://caamedia.org/blog/2020/08/13/caam-to-offer-emergency-grants-for-filmmakers-from-the-sundance-institute/?utm_source=MadMimi&utm_medium=email&utm_content=Apply+for+Emergency+Grants+for+Filmmakers+Made+Possible+by+Sundance+Institute&utm_campaign=20200814_m159625399_Apply+for+Emergency+Grants+For+Filmmakers+Made+Possible+By+Sundance+Institute&utm_term=here\" rel=\"noopener noreferrer\" target=\"_blank\">15 emergency grants of up to $1,000 each\u003c/a> to Asian American filmmakers with demonstrated financial needs as a result of the COVID-19 pandemic.\u003c/p>\n\u003cp>The funds come from the $1 million \u003ca href=\"https://www.sundance.org/covid19\" rel=\"noopener noreferrer\" target=\"_blank\">Sundance Institute Respond and Reimagine Plan\u003c/a>, which awarded grants directly to artists, as well as through \u003ca href=\"https://www.artistrelief.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Artist Relief\u003c/a>, and selected organizations to redistribute a remaining $405,000 to artists from historically marginalized communities. Sundance picked 39 grantees across the world, including local media orgs CAAM and Frameline.\u003c/p>\n\u003cp>Applicants for the CAAM emergency grants, among other requirements, must identify as Asian American; cannot be current students; must be directors, producers, cinematographers or editors experiencing dire financial emergencies due to the pandemic; and must have completed at least “one nonfiction film or interactive media project that was publicly exhibited in a curated and/or noncommercial environment.” \u003c/p>\n\u003cp>Applications are due by Monday, Aug. 31. \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSd8SRRSdwVwmJa9_0l_CtalDp1w7bYQKSr2SCeeLjqaZjXTEg/viewform\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Some Good News: Ruth Asawa Stamps are Here",
"headTitle": "Some Good News: Ruth Asawa Stamps are Here | KQED",
"content": "\u003cp>Ruth Asawa has been commemorated in a run of official postage stamps, available today, Aug. 13. \u003c/p>\n\u003cp>The stamps honor the work of the late, beloved San Francisco-based Asawa, a Japanese American artist whose fountains adorn the city and whose detailed wire sculptures have become an instantly recognizable emblem of her long, varied career.\u003c/p>\n\u003cp>The 20 stamps in the set showcase Asawa’s wire sculptures, with a 1954 \u003cem>Life\u003c/em> magazine photograph of Asawa in the margin of the set. The stamps, good for use indefinitely as “Forever” stamps, cost 55¢ each or $11 for a sheet of 20. They can be purchased in person at any post office branch, or \u003ca href=\"https://store.usps.com/store/product/buy-stamps/ruth-asawa-S_476304\" rel=\"noopener noreferrer\" target=\"_blank\">online directly from the USPS\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13884760\" class=\"wp-caption aligncenter\" style=\"max-width: 522px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/RuthAsawa.Stampsheet.jpg\" alt=\"Stamps featuring the wire sculpture of Ruth Asawa.\" width=\"522\" height=\"470\" class=\"size-full wp-image-13884760\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/RuthAsawa.Stampsheet.jpg 522w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/RuthAsawa.Stampsheet-160x144.jpg 160w\" sizes=\"(max-width: 522px) 100vw, 522px\">\u003cfigcaption class=\"wp-caption-text\">Stamps featuring the wire sculpture of Ruth Asawa. \u003ccite>(USPS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Ruth Asawa stamps will be commemorated in a \u003ca href=\"https://stamps.org/news/c/news/cat/us-new-issues/post/star-treks-george-takei-featured-in-asawa-stamp-dedication\" rel=\"noopener noreferrer\" target=\"_blank\">virtual dedication ceremony\u003c/a> on Aug. 13 at 10:30am Pacific Time on the USPS’ \u003ca href=\"https://twitter.com/USPS\" rel=\"noopener noreferrer\" target=\"_blank\">Twitter\u003c/a> and \u003ca href=\"https://www.facebook.com/USPS/\" rel=\"noopener noreferrer\" target=\"_blank\">Facebook\u003c/a> pages. George Takei, of \u003cem>Star Trek\u003c/em> fame, is scheduled to speak.\u003c/p>\n\u003cp>Asawa’s wire sculptures will be familiar to visitors of the de Young Museum in San Francisco. Fifteen are on permanent display in the museum’s tower building. \u003c/p>\n\u003cp>Asawa was born in 1926. During WWII, she and members of her family were sent to Santa Anita racetrack, and then to Arkansas, as part of the U.S. internment of Japanese Americans. She later attended Black Mountain College in North Carolina. Though versed in a variety of disciplines, her work with wire sculpture attracted nationwide attention starting in the 1950s.\u003c/p>\n\u003cp>In 1966, Asawa created the mermaid fountain in San Francisco’s Ghirardelli Square. Fountains at the Hyatt in Union Square, the Embarcadero, and other locations around the Bay Area followed, often created in collaboration with schoolchildren. Asawa also led a drive to establish the San Francisco School for the Arts, now named in her honor.\u003c/p>\n\u003cp>Asawa died in 2013. A biography of her life and work, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13878921/everything-she-touched-emotionally-textured-biography-of-ruth-asawa\" rel=\"noopener noreferrer\" target=\"_blank\">Everything She Touched: The Life of Ruth Asawa\u003c/a>\u003c/em>, was released earlier this year by Chronicle Books. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ruth Asawa has been commemorated in a run of official postage stamps, available today, Aug. 13. \u003c/p>\n\u003cp>The stamps honor the work of the late, beloved San Francisco-based Asawa, a Japanese American artist whose fountains adorn the city and whose detailed wire sculptures have become an instantly recognizable emblem of her long, varied career.\u003c/p>\n\u003cp>The 20 stamps in the set showcase Asawa’s wire sculptures, with a 1954 \u003cem>Life\u003c/em> magazine photograph of Asawa in the margin of the set. The stamps, good for use indefinitely as “Forever” stamps, cost 55¢ each or $11 for a sheet of 20. They can be purchased in person at any post office branch, or \u003ca href=\"https://store.usps.com/store/product/buy-stamps/ruth-asawa-S_476304\" rel=\"noopener noreferrer\" target=\"_blank\">online directly from the USPS\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13884760\" class=\"wp-caption aligncenter\" style=\"max-width: 522px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/RuthAsawa.Stampsheet.jpg\" alt=\"Stamps featuring the wire sculpture of Ruth Asawa.\" width=\"522\" height=\"470\" class=\"size-full wp-image-13884760\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/RuthAsawa.Stampsheet.jpg 522w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/RuthAsawa.Stampsheet-160x144.jpg 160w\" sizes=\"(max-width: 522px) 100vw, 522px\">\u003cfigcaption class=\"wp-caption-text\">Stamps featuring the wire sculpture of Ruth Asawa. \u003ccite>(USPS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Ruth Asawa stamps will be commemorated in a \u003ca href=\"https://stamps.org/news/c/news/cat/us-new-issues/post/star-treks-george-takei-featured-in-asawa-stamp-dedication\" rel=\"noopener noreferrer\" target=\"_blank\">virtual dedication ceremony\u003c/a> on Aug. 13 at 10:30am Pacific Time on the USPS’ \u003ca href=\"https://twitter.com/USPS\" rel=\"noopener noreferrer\" target=\"_blank\">Twitter\u003c/a> and \u003ca href=\"https://www.facebook.com/USPS/\" rel=\"noopener noreferrer\" target=\"_blank\">Facebook\u003c/a> pages. George Takei, of \u003cem>Star Trek\u003c/em> fame, is scheduled to speak.\u003c/p>\n\u003cp>Asawa’s wire sculptures will be familiar to visitors of the de Young Museum in San Francisco. Fifteen are on permanent display in the museum’s tower building. \u003c/p>\n\u003cp>Asawa was born in 1926. During WWII, she and members of her family were sent to Santa Anita racetrack, and then to Arkansas, as part of the U.S. internment of Japanese Americans. She later attended Black Mountain College in North Carolina. Though versed in a variety of disciplines, her work with wire sculpture attracted nationwide attention starting in the 1950s.\u003c/p>\n\u003cp>In 1966, Asawa created the mermaid fountain in San Francisco’s Ghirardelli Square. Fountains at the Hyatt in Union Square, the Embarcadero, and other locations around the Bay Area followed, often created in collaboration with schoolchildren. Asawa also led a drive to establish the San Francisco School for the Arts, now named in her honor.\u003c/p>\n\u003cp>Asawa died in 2013. A biography of her life and work, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13878921/everything-she-touched-emotionally-textured-biography-of-ruth-asawa\" rel=\"noopener noreferrer\" target=\"_blank\">Everything She Touched: The Life of Ruth Asawa\u003c/a>\u003c/em>, was released earlier this year by Chronicle Books. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "3 Ways Asian Americans Can Fight Anti-Black Racism",
"headTitle": "3 Ways Asian Americans Can Fight Anti-Black Racism | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Over four weeks since a police officer killed George Floyd on video in Minneapolis, a nationwide reckoning with anti-Black racism is showing no signs of slowing. In the streets, protestors have participated in demonstrations of all sizes, including \u003ca href=\"https://www.kqed.org/news/11822771/bay-area-george-floyd-protests-police-violence-curfew-orders\" target=\"_blank\" rel=\"noopener noreferrer\">a student-led march\u003c/a> of over 10,000 in San Francisco and 15,000 people \u003c/span>\u003ca href=\"https://www.thecut.com/2020/06/fifteen-thousand-marched-in-brooklyn-for-black-trans-lives.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">marching for Black trans lives\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in New York. Online, people have created and shared innumerable resources on anti-racist action and how to break down anti-Blackness in non-Black communities.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This conversation has been especially prevalent in the Asian American and Pacific Islander community—for whom (now fired) police officer Tou Thao’s role in Floyd’s death exposed the deep-rooted ways Asians and Pacific Islanders have benefited from and contributed to systemic racism in America. For much of the last month, there’s been an uncharacteristic immediacy in the AAPI community to share content around \u003c/span>\u003ca href=\"https://www.instagram.com/p/CBg1jYvjnT9/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">dismantling the “model minority myth”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and talks of returning to the Asian-Black solidarity of the 1960s. But in reality, these calls to action only scratch the surface of the long history of Asian identity in America. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To truly create sustained, long-term change for Black, Indigenous, People of Color (BIPOC) in America, we as Asian Americans must go deeper: We must understand our own racial positioning in this country and deconstruct our desire to assimilate into whiteness. We must keep having conversations with family members who lack awareness or carry racist ideals. And, finally, we must recognize that we are all on our own unique journey to solidarity—and that we must work together to create the change we all want to see.\u003c/span>\u003c/p>\n\u003ch2>Do Research Beyond Social Media\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Social media can be an extremely useful starting point for learning about social issues. But a lot of these one-and-done posts, like ones with the slogan “Yellow Peril Supports Black Power,” make blanket statements that ignore the nuances that make the AAPI experience so difficult to unpack. While many people—myself included—first looked to the phrase as a symbol of Black and Asian solidarity, more information came to light about the slogan’s complicated history. In the ’60s, “Yellow Peril Supports Black Power” had two primary purposes: Reclaiming “yellow peril” as a derogatory phrase against Chinese laborers in the 1800s, and showing support for the Black community.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13880454\" class=\"wp-caption alignright\" style=\"max-width: 582px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880454\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/yellow_peril.jpg\" alt=\"Asian American demonstrators rally for Black Panther Party co-founder Huey P. Newton's release from prison in 1969.\" width=\"582\" height=\"717\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/yellow_peril.jpg 582w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/yellow_peril-160x197.jpg 160w\" sizes=\"(max-width: 582px) 100vw, 582px\">\u003cfigcaption class=\"wp-caption-text\">Asian American demonstrators rally for Black Panther Party co-founder Huey P. Newton’s release from prison in 1969. \u003ccite>(Courtesy of Roz Payne's Newsreel archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">But using the term today becomes more complicated after learning that Richard Aoki—one of the people who popularized the phrase at a rally for Huey Newton, and the only Asian American to hold a leadership role in the Black Panther Party—was revealed to be an FBI informant in 2012. Many activists today also take issue with the term, pointing out that the term “yellow peril”\u003c/span>\u003ca href=\"https://www.nbcnews.com/news/asian-america/history-behind-yellow-peril-supports-black-power-why-some-find-n1228776\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\"> reduces the Asian American experience exclusively to East Asians \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">while mistakenly equating Black and Asian struggles.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The “model minority myth” circulated by white journalists and politicians in the ’60s—which characterizes Asian Americans as a monolithic, law-abiding group that achieved success in America because of their cultural values—is another example of a flawed narrative to unpack. At a high level, we as a community understand how the “model minority myth” hurts us: It reduces the cultural and socioeconomic diversity of Asian and Pacific Islander subgroups to one and divides us from other minorities, like Black and Latinx groups. But deeper interrogation of the myth’s history shows just how deeply its stereotypes and principles have influenced the AAPI community today. \u003c/span>\u003cbr>\n[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the mid-1800s, after the Western states were required to enter the Union as free “non-slave” states, white elites desired a cheap and plentiful labor source. In order to position poor Chinese immigrants as these ideal laborers, white elites overtly constructed an image of Asian identity in America from 1850-1965 that deemed Asians “superior” to Black people and “inferior” to whites. But perhaps most importantly, as Claire J. Kim describes in “\u003ca href=\"https://journals.sagepub.com/doi/10.1177/0032329299027001005\" target=\"_blank\" rel=\"noopener noreferrer\">The Racial Triangulation of Asian Americans\u003c/a>,” newspapers like the San Francisco \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Daily Alta\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and sociologists like \u003c/span>\u003ca href=\"https://www.amazon.com/Mississippi-Chinese-Between-Black-Second/dp/0881333123\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">James Loewen\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> alike stressed how great and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">apolitical\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> Asians were due to their lack of ability to vote. [aside postid='arts_13880441']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Throughout that century, white lawmakers \u003c/span>\u003ca href=\"http://sites.middlebury.edu/gsfswhitepeople/files/2016/09/alcoff.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">oscillated between qualifying Asians as “Black” or “non-Black”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in order to exert power over both groups. And all the while, white elites specifically created stereotypes around Asians as being successful \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">because\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> of their lack of political interest and apathy around social justice—a direct juxtaposition to Black communities fighting for civil rights.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For me, Kim’s analysis concretely shows how Asian communities have been routinely pitted against Black communities. It gives context to the behavior of Asians Americans—such as their unwillingness to speak up in terms of social justice—and helps us understand both the privilege we as AAPI folks have due to our proximity to whiteness as well as the ways we have been disenfranchised.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This kind of understanding is crucial to breaking down why we as Asian Americans have appealed to whiteness for so long. Analyzing these historical moments allows us to reject the racial position whites have defined for us and stand in a place of solidarity with other communities of color in the fight for liberation.\u003c/span>\u003c/p>\n\u003ch2>Engage with Your Peers, Family and Community\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sharing our knowledge of systemic racism—and its impact on Asian Americans—with those in our communities is absolutely vital to making meaningful change. While discourse on social media can be cathartic, it also often feels like an echo chamber. Taking the time to speak to those who don’t share your views can instead inspire growth in both parties.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Most young AAPI folks run into issues when speaking to our families: language barriers, sensational mainstream media, and lack of awareness around race dynamics in America often turn these conversations into moments of \u003c/span>\u003ca href=\"https://twitter.com/quvnxn/status/1267208672502923265\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">conflict and frustration\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003ca href=\"https://docs.google.com/document/d/1_7sAwRnQeEBpJY26h1tlwoIcib54jqNYfNDCps5_dSY/mobilebasic\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Numerous translations\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> have been created to help folks overcome language barriers around the Black Lives Matter movement. Some AAPI folks have found success in framing the systemic racism Black communities face through \u003c/span>\u003ca href=\"https://timetosaygoodbyepod.substack.com/p/about-those-letters-to-my-asian-parents\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">historical, international lens\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Others \u003c/span>\u003ca href=\"https://www.kqed.org/news/11825466/this-is-a-fight-for-everyone-asian-parents-and-black-lives-matter\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">draw parallels between discrimination against Asians\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> to build understanding. I worked with a friend to \u003c/span>\u003ca href=\"https://docs.google.com/document/d/1QRX5WJbnUp-zAogsVnm-UGZkBRGB4xbFmVV3JoIsQ4I/edit?usp=sharing\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">create a guide\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> to help anticipate common rebuttals Asian immigrant families give in these discussions. [aside postid='arts_13881942']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Older Asian generations aren’t the only ones we should be engaging in conversation around anti-Blackness, too: Benjamin Hung, a 28-year-old graduate of a high school I attended freshman year, was arrested after witnesses identified him as the person who hit \u003c/span>\u003ca href=\"https://www.pasadenastarnews.com/2020/05/31/driver-seen-speeding-away-from-demonstration-with-protester-on-hood-in-pasadena-arrested/\">\u003cspan style=\"font-weight: 400\">a protester with his car in May\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. I’m not sure if speaking to Hung one time would have changed what happened, but I do think that continued conversations over the years would have helped.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ultimately, understanding creates change. And if enough people in our community understand how white supremacy has hurt us all, the more difference we as Asian Americans will make.\u003c/span>\u003c/p>\n\u003ch2>Show Up In Your Actions\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Dismantling structures that have been around for centuries takes time—but that doesn’t mean there aren’t small actions you can do every single day: \u003c/span>\u003ca href=\"https://blacklivesmatters.carrd.co/#donate\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Donate\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> to mutual aid funds, Black individuals, and organizations dedicated to the long-term advancement of BIPOC. Buy from \u003c/span>\u003ca href=\"https://www.beyonce.com/black-parade-route/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Black-owned businesses\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Share educational resources. Attend protests. Read Angela Davis, Audre Lorde and other Black revolutionary authors. Learn about the history of \u003c/span>\u003ca href=\"https://www.blackwomenradicals.com/blog-feed/black-and-asian-feminist-solidarities-a-reading-list\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">feminist solidarity between Black and Asian communities\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Call out microaggressions every time they happen. Push for more Black leadership in your workplace. Use your privilege and your voice to consistently advocate for Black lives.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s also the inner, arguably more difficult work that comes with showing up too—being open to critique. Listening. Dismantling the \u003c/span>\u003ca href=\"https://twitter.com/noname/status/1275067838403772416\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">white supremacist in our heads\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Finding ways to educate in a constructive manner, without tearing others down or making them feel guilty. Lately, I’ve been seeing a lot of discourse around performative allyship that \u003c/span>\u003ca href=\"https://www.instagram.com/p/CBgudAgDD4E/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">criticizes Asian Americans\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> for a lot of the AAPI work circulating on social media. These critiques make some valid points, such as how we should de-center Asian voices, stop virtue signaling and move past guilt to act from a place of true solidarity. But at the end of the day, we’re all at different levels of awareness. [aside postid='arts_13881399']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We’re all at different points on the journey to gain the understanding we need to dismantle white supremacy. As long as we keep learning, showing support and trying to create change, that’s what matters.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Part of the work is realizing that, and understanding that this is a pivotal moment for us as Asian Americans to come together and expose this system for what it is—so that we can finally break it down for good.\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Over four weeks since a police officer killed George Floyd on video in Minneapolis, a nationwide reckoning with anti-Black racism is showing no signs of slowing. In the streets, protestors have participated in demonstrations of all sizes, including \u003ca href=\"https://www.kqed.org/news/11822771/bay-area-george-floyd-protests-police-violence-curfew-orders\" target=\"_blank\" rel=\"noopener noreferrer\">a student-led march\u003c/a> of over 10,000 in San Francisco and 15,000 people \u003c/span>\u003ca href=\"https://www.thecut.com/2020/06/fifteen-thousand-marched-in-brooklyn-for-black-trans-lives.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">marching for Black trans lives\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in New York. Online, people have created and shared innumerable resources on anti-racist action and how to break down anti-Blackness in non-Black communities.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This conversation has been especially prevalent in the Asian American and Pacific Islander community—for whom (now fired) police officer Tou Thao’s role in Floyd’s death exposed the deep-rooted ways Asians and Pacific Islanders have benefited from and contributed to systemic racism in America. For much of the last month, there’s been an uncharacteristic immediacy in the AAPI community to share content around \u003c/span>\u003ca href=\"https://www.instagram.com/p/CBg1jYvjnT9/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">dismantling the “model minority myth”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and talks of returning to the Asian-Black solidarity of the 1960s. But in reality, these calls to action only scratch the surface of the long history of Asian identity in America. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To truly create sustained, long-term change for Black, Indigenous, People of Color (BIPOC) in America, we as Asian Americans must go deeper: We must understand our own racial positioning in this country and deconstruct our desire to assimilate into whiteness. We must keep having conversations with family members who lack awareness or carry racist ideals. And, finally, we must recognize that we are all on our own unique journey to solidarity—and that we must work together to create the change we all want to see.\u003c/span>\u003c/p>\n\u003ch2>Do Research Beyond Social Media\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Social media can be an extremely useful starting point for learning about social issues. But a lot of these one-and-done posts, like ones with the slogan “Yellow Peril Supports Black Power,” make blanket statements that ignore the nuances that make the AAPI experience so difficult to unpack. While many people—myself included—first looked to the phrase as a symbol of Black and Asian solidarity, more information came to light about the slogan’s complicated history. In the ’60s, “Yellow Peril Supports Black Power” had two primary purposes: Reclaiming “yellow peril” as a derogatory phrase against Chinese laborers in the 1800s, and showing support for the Black community.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13880454\" class=\"wp-caption alignright\" style=\"max-width: 582px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880454\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/yellow_peril.jpg\" alt=\"Asian American demonstrators rally for Black Panther Party co-founder Huey P. Newton's release from prison in 1969.\" width=\"582\" height=\"717\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/yellow_peril.jpg 582w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/yellow_peril-160x197.jpg 160w\" sizes=\"(max-width: 582px) 100vw, 582px\">\u003cfigcaption class=\"wp-caption-text\">Asian American demonstrators rally for Black Panther Party co-founder Huey P. Newton’s release from prison in 1969. \u003ccite>(Courtesy of Roz Payne's Newsreel archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">But using the term today becomes more complicated after learning that Richard Aoki—one of the people who popularized the phrase at a rally for Huey Newton, and the only Asian American to hold a leadership role in the Black Panther Party—was revealed to be an FBI informant in 2012. Many activists today also take issue with the term, pointing out that the term “yellow peril”\u003c/span>\u003ca href=\"https://www.nbcnews.com/news/asian-america/history-behind-yellow-peril-supports-black-power-why-some-find-n1228776\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\"> reduces the Asian American experience exclusively to East Asians \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">while mistakenly equating Black and Asian struggles.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The “model minority myth” circulated by white journalists and politicians in the ’60s—which characterizes Asian Americans as a monolithic, law-abiding group that achieved success in America because of their cultural values—is another example of a flawed narrative to unpack. At a high level, we as a community understand how the “model minority myth” hurts us: It reduces the cultural and socioeconomic diversity of Asian and Pacific Islander subgroups to one and divides us from other minorities, like Black and Latinx groups. But deeper interrogation of the myth’s history shows just how deeply its stereotypes and principles have influenced the AAPI community today. \u003c/span>\u003cbr>\n\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the mid-1800s, after the Western states were required to enter the Union as free “non-slave” states, white elites desired a cheap and plentiful labor source. In order to position poor Chinese immigrants as these ideal laborers, white elites overtly constructed an image of Asian identity in America from 1850-1965 that deemed Asians “superior” to Black people and “inferior” to whites. But perhaps most importantly, as Claire J. Kim describes in “\u003ca href=\"https://journals.sagepub.com/doi/10.1177/0032329299027001005\" target=\"_blank\" rel=\"noopener noreferrer\">The Racial Triangulation of Asian Americans\u003c/a>,” newspapers like the San Francisco \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Daily Alta\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> and sociologists like \u003c/span>\u003ca href=\"https://www.amazon.com/Mississippi-Chinese-Between-Black-Second/dp/0881333123\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">James Loewen\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> alike stressed how great and \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">apolitical\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> Asians were due to their lack of ability to vote. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Throughout that century, white lawmakers \u003c/span>\u003ca href=\"http://sites.middlebury.edu/gsfswhitepeople/files/2016/09/alcoff.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">oscillated between qualifying Asians as “Black” or “non-Black”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in order to exert power over both groups. And all the while, white elites specifically created stereotypes around Asians as being successful \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">because\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> of their lack of political interest and apathy around social justice—a direct juxtaposition to Black communities fighting for civil rights.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For me, Kim’s analysis concretely shows how Asian communities have been routinely pitted against Black communities. It gives context to the behavior of Asians Americans—such as their unwillingness to speak up in terms of social justice—and helps us understand both the privilege we as AAPI folks have due to our proximity to whiteness as well as the ways we have been disenfranchised.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This kind of understanding is crucial to breaking down why we as Asian Americans have appealed to whiteness for so long. Analyzing these historical moments allows us to reject the racial position whites have defined for us and stand in a place of solidarity with other communities of color in the fight for liberation.\u003c/span>\u003c/p>\n\u003ch2>Engage with Your Peers, Family and Community\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sharing our knowledge of systemic racism—and its impact on Asian Americans—with those in our communities is absolutely vital to making meaningful change. While discourse on social media can be cathartic, it also often feels like an echo chamber. Taking the time to speak to those who don’t share your views can instead inspire growth in both parties.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Most young AAPI folks run into issues when speaking to our families: language barriers, sensational mainstream media, and lack of awareness around race dynamics in America often turn these conversations into moments of \u003c/span>\u003ca href=\"https://twitter.com/quvnxn/status/1267208672502923265\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">conflict and frustration\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003ca href=\"https://docs.google.com/document/d/1_7sAwRnQeEBpJY26h1tlwoIcib54jqNYfNDCps5_dSY/mobilebasic\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Numerous translations\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> have been created to help folks overcome language barriers around the Black Lives Matter movement. Some AAPI folks have found success in framing the systemic racism Black communities face through \u003c/span>\u003ca href=\"https://timetosaygoodbyepod.substack.com/p/about-those-letters-to-my-asian-parents\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">historical, international lens\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Others \u003c/span>\u003ca href=\"https://www.kqed.org/news/11825466/this-is-a-fight-for-everyone-asian-parents-and-black-lives-matter\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">draw parallels between discrimination against Asians\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> to build understanding. I worked with a friend to \u003c/span>\u003ca href=\"https://docs.google.com/document/d/1QRX5WJbnUp-zAogsVnm-UGZkBRGB4xbFmVV3JoIsQ4I/edit?usp=sharing\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">create a guide\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> to help anticipate common rebuttals Asian immigrant families give in these discussions. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Older Asian generations aren’t the only ones we should be engaging in conversation around anti-Blackness, too: Benjamin Hung, a 28-year-old graduate of a high school I attended freshman year, was arrested after witnesses identified him as the person who hit \u003c/span>\u003ca href=\"https://www.pasadenastarnews.com/2020/05/31/driver-seen-speeding-away-from-demonstration-with-protester-on-hood-in-pasadena-arrested/\">\u003cspan style=\"font-weight: 400\">a protester with his car in May\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. I’m not sure if speaking to Hung one time would have changed what happened, but I do think that continued conversations over the years would have helped.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ultimately, understanding creates change. And if enough people in our community understand how white supremacy has hurt us all, the more difference we as Asian Americans will make.\u003c/span>\u003c/p>\n\u003ch2>Show Up In Your Actions\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Dismantling structures that have been around for centuries takes time—but that doesn’t mean there aren’t small actions you can do every single day: \u003c/span>\u003ca href=\"https://blacklivesmatters.carrd.co/#donate\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Donate\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> to mutual aid funds, Black individuals, and organizations dedicated to the long-term advancement of BIPOC. Buy from \u003c/span>\u003ca href=\"https://www.beyonce.com/black-parade-route/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Black-owned businesses\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Share educational resources. Attend protests. Read Angela Davis, Audre Lorde and other Black revolutionary authors. Learn about the history of \u003c/span>\u003ca href=\"https://www.blackwomenradicals.com/blog-feed/black-and-asian-feminist-solidarities-a-reading-list\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">feminist solidarity between Black and Asian communities\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Call out microaggressions every time they happen. Push for more Black leadership in your workplace. Use your privilege and your voice to consistently advocate for Black lives.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s also the inner, arguably more difficult work that comes with showing up too—being open to critique. Listening. Dismantling the \u003c/span>\u003ca href=\"https://twitter.com/noname/status/1275067838403772416\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">white supremacist in our heads\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Finding ways to educate in a constructive manner, without tearing others down or making them feel guilty. Lately, I’ve been seeing a lot of discourse around performative allyship that \u003c/span>\u003ca href=\"https://www.instagram.com/p/CBgudAgDD4E/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">criticizes Asian Americans\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> for a lot of the AAPI work circulating on social media. These critiques make some valid points, such as how we should de-center Asian voices, stop virtue signaling and move past guilt to act from a place of true solidarity. But at the end of the day, we’re all at different levels of awareness. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We’re all at different points on the journey to gain the understanding we need to dismantle white supremacy. As long as we keep learning, showing support and trying to create change, that’s what matters.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Part of the work is realizing that, and understanding that this is a pivotal moment for us as Asian Americans to come together and expose this system for what it is—so that we can finally break it down for good.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "What It Means to Make Art as an Asian American in the Pandemic",
"headTitle": "What It Means to Make Art as an Asian American in the Pandemic | KQED",
"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> few months ago, I felt like 2020 was going to be a pivotal point for mainstream cultural acceptance for the Asian American and Pacific Islander (AAPI) community. 2019 seemed to offer one win after another: Rapper \u003ca href=\"https://www.instagram.com/saweetie/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Saweetie\u003c/span>\u003c/a>’s \u003cspan style=\"font-weight: 400\">“My Type” became a summer hit; K-pop group \u003c/span>\u003ca href=\"https://www.instagram.com/blackpinkofficial/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">BLACKPINK\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> headlined Coachella; indie favorites \u003c/span>\u003ca href=\"https://www.instagram.com/radvxz/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Beabadoobee\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ca href=\"https://www.instagram.com/peggygou_/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Peggy Gou\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> made big waves in the underground. Photographer \u003c/span>\u003ca href=\"https://www.instagram.com/andrew_kung/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Andrew Kung\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003cem>\u003ca href=\"https://www.instagram.com/bananamag/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Banana Mag\u003c/span>\u003c/a>\u003c/em>\u003cspan style=\"font-weight: 400\"> brought Asian American identity to the forefront. And \u003c/span>\u003ca href=\"https://www.rottentomatoes.com/m/always_be_my_maybe_2019\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">Always Be My Maybe\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">, starring Ali Wong and Randall Park, won hearts with its\u003c/span>\u003ca href=\"https://www.elle.com/culture/movies-tv/a27698063/always-be-my-maybe-asian-representation-best-twitter-reactions/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\"> Asian American take on a relatable rom-com plot line\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the fall, the momentum reached a near-fever pitch when Lulu Wang’s \u003c/span>\u003ca href=\"https://a24films.com/films/the-farewell\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">The Farewell\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">,\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> a film that tells the poignant story of a Chinese-American family navigating their grandma’s cancer diagnosis, released to critical acclaim. And then there was Bong Joon-ho’s phenomenal \u003c/span>\u003ca href=\"https://www.imdb.com/title/tt6751668/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">Parasite\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">. The film is actually a foreign one—it was created by a Korean filmmaker in Korea—but for me, it felt like a win when it became the first non-English film to ever \u003c/span>\u003ca href=\"https://www.nytimes.com/2020/02/09/movies/parasite-movie-oscars-best-picture.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">take home an Oscar for Best Picture\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in early February. Together, these artistic accomplishments felt like a massive shift towards recognizing Asian influence in the American cultural fabric.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Then, COVID-19 made it to the United States. My family followed the Chinese news, so they’d been updating me on the virus’ spread since January. I wasn’t that surprised when racist attacks started being reported in February and March—but what did surprise me was how many of them took place in New York, a city I recently relocated to from the Bay Area. A masked woman was \u003c/span>\u003ca href=\"https://nypost.com/2020/02/05/woman-wearing-face-mask-attacked-in-possible-coronavirus-hate-crime/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">kicked in the face\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> at Grand Street station. An Asian man \u003c/span>\u003ca href=\"https://nextshark.com/man-fights-back-after-getting-water-thrown-at-him-because-he-has-coronavirus-in-nyc/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">doused in water\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> while smoking a cigarette. Another was \u003c/span>\u003ca href=\"https://nypost.com/2020/03/05/straphanger-sprays-asian-man-with-febreze-in-possible-hate-crime/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">sprayed with Febreeze\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> on the subway. A woman \u003c/span>\u003ca href=\"https://gothamist.com/news/nypd-investigating-hate-crime-after-asian-woman-allegedly-punched-not-wearing-face-mask\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">was punched in the face in K-town\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. A woman had \u003c/span>\u003ca href=\"https://www.buzzfeednews.com/article/clarissajanlim/asian-woman-chemical-burns-brooklyn-new-york-attack\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">acid poured on her outside her house\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And then, beyond New York: Student Jonathan Mok was \u003c/span>\u003ca href=\"https://www.cnn.com/2020/03/03/uk/coronavirus-assault-student-london-scli-intl-gbr/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">brutally beaten on the street in London\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. An elder was \u003c/span>\u003ca href=\"https://www.sfchronicle.com/crime/article/Video-Asian-man-attacked-mocked-in-San-15081317.php\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">harassed and attacked while collecting cans\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in San Francisco. Two people were \u003c/span>\u003ca href=\"https://www.phillyvoice.com/philly-subway-assault-asian-couple-video-septa-police-coronavirus-fear-harassment/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">assaulted by a group of teens\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> at a train station in Philadelphia. A 2-year-old girl, 6-year-old boy and their father were \u003c/span>\u003ca href=\"https://www.thedailybeast.com/stabbing-of-asian-american-2-year-old-and-her-family-was-a-coronavirus-fueled-hate-crime-feds-say\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">stabbed in a murder attempt\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> at a Sam’s Club in Texas.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13880465\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880465\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Artboard-9@2x-copy-800x1000.jpg\" alt='A woman poses in a mask among cleaning products with the text, \"March 10: An Asian woman is punched in the face for not wearing a mask.\"' width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Artboard-9@2x-copy.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Artboard-9@2x-copy-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Artboard-9@2x-copy-768x960.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author Eda Yu in a photo series that draws attention to recent hate crimes against Asian Americans. \u003ccite>(Eda Yu, Mashael Al Saie, Christine Oh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The anger that comes from seeing this kind of racial violence is raw and exceedingly visceral. It’s hard to put into words—especially for Asian Americans for whom speaking up in matters of \u003c/span>\u003ca href=\"https://www.theatlantic.com/education/archive/2015/12/asian-americans-campus-protests/419301/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">social justice is more difficult\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> after decades of believing that their level of privilege, created by the model minority myth, shields them from having to advocate for civil rights. This is even more complicated by the fact that silence is a traditional East Asian cultural custom. As Gu Xiao-le describes in \u003c/span>\u003ca href=\"https://web.uri.edu/iaics/files/05-Gu-Xiao-le.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">A Contrastive Analysis of Chinese and American Views about Silence and Debate\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">: “In … Chinese culture, communicators assume a great deal of commonality of knowledge and views, so that less is spelt out explicitly and much more is implicit or communicated in indirect ways … Silence holds a strong contextual meaning, such as showing obedience to senior people, or being a sign of respect for the wisdom and expertise of others, or disagreement while avoiding direct confrontation.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It comes as no surprise, then, that Asians have had trouble finding the voice to stand up for themselves—or others—in America. In recent years, we’ve seen the national conversation start moving past assimilationist ideals, but that shift hasn’t necessarily been reflected in the art we make. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Crazy Rich Asians\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, a Hollywood film that broke ground with its all-Asian cast in 2018, is a perfect example of this kind of art—a win for representation, but one that plays heavily into tropes of assimilationist \u003c/span>\u003ca href=\"https://www.theatlantic.com/entertainment/archive/2018/08/asian-americas-great-gatsby-moment/568213/\">\u003cspan style=\"font-weight: 400\">whitewashing\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">To All the Boys I’ve Loved Before\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, a Netflix Original also released in 2018, echoes these ideals: the film differs in practically no way from a classic American high school rom-com—it just substitutes an Asian girl for a white one. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now, during the pandemic, our art carries a different weight entirely. Asian-American artists have a sense of responsibility of tackling issues of identity—of fighting this hate and xenophobia. That very feeling is what inspired me to make the projects I recently released on social media: a photo series with friends that denounced these attacks of racial violence, posts that spoke to how Asians were unfairly targeted for wearing masks. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And it wasn’t just me. In the rise of this discrimination, I saw an extraordinary amount of Asian American cultural work—essays, photos, videos, makeup—innumerable forms of expression all geared towards addressing the massive \u003c/span>\u003ca href=\"https://www.adl.org/blog/reports-of-anti-asian-assaults-harassment-and-hate-crimes-rise-as-coronavirus-spreads\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">spike in anti-Asian hate crimes\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. The art I saw differed greatly from the kind often touted in the American mainstream. It is, at its core, protest art—meant to challenge the status quo and incite change.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13880454\" class=\"wp-caption aligncenter\" style=\"max-width: 582px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880454\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/yellow_peril.jpg\" alt=\"Asian American demonstrators rally for Black Panther Party co-founder Huey P. Newton's release from prison in 1969.\" width=\"582\" height=\"717\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/yellow_peril.jpg 582w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/yellow_peril-160x197.jpg 160w\" sizes=\"(max-width: 582px) 100vw, 582px\">\u003cfigcaption class=\"wp-caption-text\">Asian-American demonstrators rally for Black Panther Party co-founder Huey P. Newton’s release from prison in 1969. \u003ccite>(Courtesy of Roz Payne's Newsreel archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n contrast to the relatively tame AAPI-centered work that tends to get the most attention today, radical, progressive art played a key role in shaping the modern conception of Asian American identity. Before 1968, the concept of Asian America didn’t exist. The Asian American movement—often overlooked—changed all of that. In the late ’60s, public outrage over the Vietnam War spurred massive protests throughout the United States. At UC Berkeley, the first-ever \u003ca href=\"http://aam1968.blogspot.com/2008/01/introduction-to-asian-american-movement.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Asian American Political Alliance \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">formed in May 1968. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As Karen Ishizuka details in her book \u003c/span>\u003ca href=\"https://aaww.org/asian-american-movement/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">Serve the People\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">, Asian American activists were heavily inspired by Third World solidarity and the Black Liberation Movement. They lobbied together against American racism and imperialism, and found power in their dual identities rather than assimilating. Eventually, as the movement grew during the ’70s and ’80s, action spread to community initiatives, like protesting evictions and gentrification in the Bay Area.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In those years, AAPI protest art grew. “\u003c/span>\u003ca href=\"https://vimeo.com/142686397\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Roots\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">,” a visual art exhibition in Los Angeles’ Chinese American Museum in 2017, featured artworks from those decades: AAPI newsletters were illustrated with slogans like “More power to the people;” films like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Cruisin’ J-Town\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> offered a counterpoint to the racialized depictions of Asians in Hollywood; posters played on Chinese astrology to critique police violence, reading “Year of the People. Off the Pigs.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The movement died out in the early ’90s as forces of assimilation and economic ambition separated identity politics from their militant ideals and drew these progressive agendas to a close. But, disappointingly, the way our community is represented in the mainstream now feels far removed from this drive for change and the \u003c/span>\u003ca href=\"https://www.npr.org/sections/codeswitch/2017/04/19/524571669/model-minority-myth-again-used-as-a-racial-wedge-between-asians-and-blacks\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">solidarity between other minority groups we hope to find today\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">N\u003c/span>ow, beyond the mainstream, there are still many AAPI works today that could be considered protest art, even if they take a different form than the works of the ’70s and ’80s. I recently read Viet Thanh Nguyen’s \u003ca href=\"https://www.amazon.com/Sympathizer-Novel-Pulitzer-Prize-Fiction/dp/0802124941\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">The Sympathizer\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">, for example, and felt its complex portrayal of the immigrant-Southeast-Asian experience challenge many opinions I’d formed about my AAPI identity growing up in L.A.. Singer Rina Sawayama’s latest \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=XojM2D3F-Dc\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">SAWAYAMA\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> is brilliantly strong, tackling deep East Asian issues of shame, fetishization and intergenerational trauma. \u003c/span>\u003c/p>\n\u003cp>https://www.instagram.com/p/B-aqgGlDjg8/\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And friends in my community like \u003c/span>\u003ca href=\"https://www.instagram.com/potadachen/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Ada Chen\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, an artist who makes sculptural jewelry that simultaneously breaks down Chinese stereotypes and celebrates Chinese traditions, constantly make work that goes deeper than just representation. Through these pieces, as well as my own work, I’ve found that any kind of art can be protest art—it isn’t any less powerful just because it’s less loud.\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As we move forward in the tumult of the coming months, I hope that we can remember the foundations of our AAPI identity. I hope that we work harder at dismantling the model minority myth and carry the ideals of the people who made our identity a reality. And no matter what we make, I just hope we create every piece of art with meaning—because we still have so much left to say.\u003c/span>\u003c/p>\n\n",
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"excerpt": "Radical art helped shape Asian American identity in the ’60s. That legacy informs how artists protest racism in the COVID-19 era.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> few months ago, I felt like 2020 was going to be a pivotal point for mainstream cultural acceptance for the Asian American and Pacific Islander (AAPI) community. 2019 seemed to offer one win after another: Rapper \u003ca href=\"https://www.instagram.com/saweetie/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Saweetie\u003c/span>\u003c/a>’s \u003cspan style=\"font-weight: 400\">“My Type” became a summer hit; K-pop group \u003c/span>\u003ca href=\"https://www.instagram.com/blackpinkofficial/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">BLACKPINK\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> headlined Coachella; indie favorites \u003c/span>\u003ca href=\"https://www.instagram.com/radvxz/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Beabadoobee\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ca href=\"https://www.instagram.com/peggygou_/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Peggy Gou\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> made big waves in the underground. Photographer \u003c/span>\u003ca href=\"https://www.instagram.com/andrew_kung/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Andrew Kung\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003cem>\u003ca href=\"https://www.instagram.com/bananamag/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Banana Mag\u003c/span>\u003c/a>\u003c/em>\u003cspan style=\"font-weight: 400\"> brought Asian American identity to the forefront. And \u003c/span>\u003ca href=\"https://www.rottentomatoes.com/m/always_be_my_maybe_2019\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">Always Be My Maybe\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">, starring Ali Wong and Randall Park, won hearts with its\u003c/span>\u003ca href=\"https://www.elle.com/culture/movies-tv/a27698063/always-be-my-maybe-asian-representation-best-twitter-reactions/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\"> Asian American take on a relatable rom-com plot line\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the fall, the momentum reached a near-fever pitch when Lulu Wang’s \u003c/span>\u003ca href=\"https://a24films.com/films/the-farewell\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">The Farewell\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">,\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> a film that tells the poignant story of a Chinese-American family navigating their grandma’s cancer diagnosis, released to critical acclaim. And then there was Bong Joon-ho’s phenomenal \u003c/span>\u003ca href=\"https://www.imdb.com/title/tt6751668/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">Parasite\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">. The film is actually a foreign one—it was created by a Korean filmmaker in Korea—but for me, it felt like a win when it became the first non-English film to ever \u003c/span>\u003ca href=\"https://www.nytimes.com/2020/02/09/movies/parasite-movie-oscars-best-picture.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">take home an Oscar for Best Picture\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in early February. Together, these artistic accomplishments felt like a massive shift towards recognizing Asian influence in the American cultural fabric.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Then, COVID-19 made it to the United States. My family followed the Chinese news, so they’d been updating me on the virus’ spread since January. I wasn’t that surprised when racist attacks started being reported in February and March—but what did surprise me was how many of them took place in New York, a city I recently relocated to from the Bay Area. A masked woman was \u003c/span>\u003ca href=\"https://nypost.com/2020/02/05/woman-wearing-face-mask-attacked-in-possible-coronavirus-hate-crime/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">kicked in the face\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> at Grand Street station. An Asian man \u003c/span>\u003ca href=\"https://nextshark.com/man-fights-back-after-getting-water-thrown-at-him-because-he-has-coronavirus-in-nyc/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">doused in water\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> while smoking a cigarette. Another was \u003c/span>\u003ca href=\"https://nypost.com/2020/03/05/straphanger-sprays-asian-man-with-febreze-in-possible-hate-crime/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">sprayed with Febreeze\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> on the subway. A woman \u003c/span>\u003ca href=\"https://gothamist.com/news/nypd-investigating-hate-crime-after-asian-woman-allegedly-punched-not-wearing-face-mask\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">was punched in the face in K-town\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. A woman had \u003c/span>\u003ca href=\"https://www.buzzfeednews.com/article/clarissajanlim/asian-woman-chemical-burns-brooklyn-new-york-attack\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">acid poured on her outside her house\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And then, beyond New York: Student Jonathan Mok was \u003c/span>\u003ca href=\"https://www.cnn.com/2020/03/03/uk/coronavirus-assault-student-london-scli-intl-gbr/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">brutally beaten on the street in London\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. An elder was \u003c/span>\u003ca href=\"https://www.sfchronicle.com/crime/article/Video-Asian-man-attacked-mocked-in-San-15081317.php\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">harassed and attacked while collecting cans\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in San Francisco. Two people were \u003c/span>\u003ca href=\"https://www.phillyvoice.com/philly-subway-assault-asian-couple-video-septa-police-coronavirus-fear-harassment/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">assaulted by a group of teens\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> at a train station in Philadelphia. A 2-year-old girl, 6-year-old boy and their father were \u003c/span>\u003ca href=\"https://www.thedailybeast.com/stabbing-of-asian-american-2-year-old-and-her-family-was-a-coronavirus-fueled-hate-crime-feds-say\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">stabbed in a murder attempt\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> at a Sam’s Club in Texas.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13880465\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13880465\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Artboard-9@2x-copy-800x1000.jpg\" alt='A woman poses in a mask among cleaning products with the text, \"March 10: An Asian woman is punched in the face for not wearing a mask.\"' width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Artboard-9@2x-copy.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Artboard-9@2x-copy-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Artboard-9@2x-copy-768x960.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author Eda Yu in a photo series that draws attention to recent hate crimes against Asian Americans. \u003ccite>(Eda Yu, Mashael Al Saie, Christine Oh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The anger that comes from seeing this kind of racial violence is raw and exceedingly visceral. It’s hard to put into words—especially for Asian Americans for whom speaking up in matters of \u003c/span>\u003ca href=\"https://www.theatlantic.com/education/archive/2015/12/asian-americans-campus-protests/419301/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">social justice is more difficult\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> after decades of believing that their level of privilege, created by the model minority myth, shields them from having to advocate for civil rights. This is even more complicated by the fact that silence is a traditional East Asian cultural custom. As Gu Xiao-le describes in \u003c/span>\u003ca href=\"https://web.uri.edu/iaics/files/05-Gu-Xiao-le.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">A Contrastive Analysis of Chinese and American Views about Silence and Debate\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">: “In … Chinese culture, communicators assume a great deal of commonality of knowledge and views, so that less is spelt out explicitly and much more is implicit or communicated in indirect ways … Silence holds a strong contextual meaning, such as showing obedience to senior people, or being a sign of respect for the wisdom and expertise of others, or disagreement while avoiding direct confrontation.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It comes as no surprise, then, that Asians have had trouble finding the voice to stand up for themselves—or others—in America. In recent years, we’ve seen the national conversation start moving past assimilationist ideals, but that shift hasn’t necessarily been reflected in the art we make. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Crazy Rich Asians\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, a Hollywood film that broke ground with its all-Asian cast in 2018, is a perfect example of this kind of art—a win for representation, but one that plays heavily into tropes of assimilationist \u003c/span>\u003ca href=\"https://www.theatlantic.com/entertainment/archive/2018/08/asian-americas-great-gatsby-moment/568213/\">\u003cspan style=\"font-weight: 400\">whitewashing\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">To All the Boys I’ve Loved Before\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, a Netflix Original also released in 2018, echoes these ideals: the film differs in practically no way from a classic American high school rom-com—it just substitutes an Asian girl for a white one. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now, during the pandemic, our art carries a different weight entirely. Asian-American artists have a sense of responsibility of tackling issues of identity—of fighting this hate and xenophobia. That very feeling is what inspired me to make the projects I recently released on social media: a photo series with friends that denounced these attacks of racial violence, posts that spoke to how Asians were unfairly targeted for wearing masks. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And it wasn’t just me. In the rise of this discrimination, I saw an extraordinary amount of Asian American cultural work—essays, photos, videos, makeup—innumerable forms of expression all geared towards addressing the massive \u003c/span>\u003ca href=\"https://www.adl.org/blog/reports-of-anti-asian-assaults-harassment-and-hate-crimes-rise-as-coronavirus-spreads\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">spike in anti-Asian hate crimes\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. The art I saw differed greatly from the kind often touted in the American mainstream. It is, at its core, protest art—meant to challenge the status quo and incite change.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13880454\" class=\"wp-caption aligncenter\" style=\"max-width: 582px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13880454\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/yellow_peril.jpg\" alt=\"Asian American demonstrators rally for Black Panther Party co-founder Huey P. Newton's release from prison in 1969.\" width=\"582\" height=\"717\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/yellow_peril.jpg 582w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/yellow_peril-160x197.jpg 160w\" sizes=\"(max-width: 582px) 100vw, 582px\">\u003cfigcaption class=\"wp-caption-text\">Asian-American demonstrators rally for Black Panther Party co-founder Huey P. Newton’s release from prison in 1969. \u003ccite>(Courtesy of Roz Payne's Newsreel archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n contrast to the relatively tame AAPI-centered work that tends to get the most attention today, radical, progressive art played a key role in shaping the modern conception of Asian American identity. Before 1968, the concept of Asian America didn’t exist. The Asian American movement—often overlooked—changed all of that. In the late ’60s, public outrage over the Vietnam War spurred massive protests throughout the United States. At UC Berkeley, the first-ever \u003ca href=\"http://aam1968.blogspot.com/2008/01/introduction-to-asian-american-movement.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Asian American Political Alliance \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">formed in May 1968. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As Karen Ishizuka details in her book \u003c/span>\u003ca href=\"https://aaww.org/asian-american-movement/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">Serve the People\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">, Asian American activists were heavily inspired by Third World solidarity and the Black Liberation Movement. They lobbied together against American racism and imperialism, and found power in their dual identities rather than assimilating. Eventually, as the movement grew during the ’70s and ’80s, action spread to community initiatives, like protesting evictions and gentrification in the Bay Area.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In those years, AAPI protest art grew. “\u003c/span>\u003ca href=\"https://vimeo.com/142686397\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Roots\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">,” a visual art exhibition in Los Angeles’ Chinese American Museum in 2017, featured artworks from those decades: AAPI newsletters were illustrated with slogans like “More power to the people;” films like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Cruisin’ J-Town\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> offered a counterpoint to the racialized depictions of Asians in Hollywood; posters played on Chinese astrology to critique police violence, reading “Year of the People. Off the Pigs.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The movement died out in the early ’90s as forces of assimilation and economic ambition separated identity politics from their militant ideals and drew these progressive agendas to a close. But, disappointingly, the way our community is represented in the mainstream now feels far removed from this drive for change and the \u003c/span>\u003ca href=\"https://www.npr.org/sections/codeswitch/2017/04/19/524571669/model-minority-myth-again-used-as-a-racial-wedge-between-asians-and-blacks\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">solidarity between other minority groups we hope to find today\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">N\u003c/span>ow, beyond the mainstream, there are still many AAPI works today that could be considered protest art, even if they take a different form than the works of the ’70s and ’80s. I recently read Viet Thanh Nguyen’s \u003ca href=\"https://www.amazon.com/Sympathizer-Novel-Pulitzer-Prize-Fiction/dp/0802124941\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">The Sympathizer\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">, for example, and felt its complex portrayal of the immigrant-Southeast-Asian experience challenge many opinions I’d formed about my AAPI identity growing up in L.A.. Singer Rina Sawayama’s latest \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=XojM2D3F-Dc\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">SAWAYAMA\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> is brilliantly strong, tackling deep East Asian issues of shame, fetishization and intergenerational trauma. \u003c/span>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">And friends in my community like \u003c/span>\u003ca href=\"https://www.instagram.com/potadachen/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Ada Chen\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, an artist who makes sculptural jewelry that simultaneously breaks down Chinese stereotypes and celebrates Chinese traditions, constantly make work that goes deeper than just representation. Through these pieces, as well as my own work, I’ve found that any kind of art can be protest art—it isn’t any less powerful just because it’s less loud.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As we move forward in the tumult of the coming months, I hope that we can remember the foundations of our AAPI identity. I hope that we work harder at dismantling the model minority myth and carry the ideals of the people who made our identity a reality. And no matter what we make, I just hope we create every piece of art with meaning—because we still have so much left to say.\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://www.masakomiki.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Masako Miki\u003c/a> loves shapeshifters—which makes sense, because she is one. Since she left Japan at age 18 to study art in the United States, her practice has grown and morphed to encompass printmaking, watercolors, felting, installation and large-scale sculpture.\u003c/p>\n\u003cp>That material evolution mirrors changes in her own life; Miki credits her art with helping her learn to communicate and adapt to life in the U.S. as an immigrant. “My first art class in the United States was very important because I felt like I was accepted by the community,” she says. “We have a common language, which is the visual language.”\u003c/p>\n\u003cp>Many of Miki’s works are delicate images of animals, sometimes incongruously paired (like a wolf on the back of a whale), which she admires for their ability to change and survive in different environments. Evolution and metamorphosis, for Miki, is just an animal’s form of cultural survival.\u003c/p>\n\u003cp>More recently, her practice includes abstract felted shapes inspired by Shinto traditions—a Japanese religion that believes everything in the universe is imbued with kami, or spirits. “They’re always more than one singular entity,” Miki explains. “They are such a part of our culture, we see them everywhere.” During a residency in Kamiyama, Japan, Miki reconnected to the Shinto stories and beliefs of her childhood, and became determined to translate that folklore into art objects, imbuing the resulting colorful, fuzzy forms with their own unique characters.\u003c/p>\n\u003cfigure id=\"attachment_13865041\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865041\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MasakoMikiShapeshifters-800x1001.jpg\" alt=\"Karakasa-obake (umbrella ghost); Ungaikyo (possessed mirror); and Kinoko (mushroom ghost); wool on foam, walnut and wenge wood. (courtesy of Masako Miki and CULT Aimee Friberg Exhibitions)\" width=\"800\" height=\"1001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MasakoMikiShapeshifters-800x1001.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MasakoMikiShapeshifters-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MasakoMikiShapeshifters-768x961.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MasakoMikiShapeshifters-1020x1277.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MasakoMikiShapeshifters-959x1200.jpg 959w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MasakoMikiShapeshifters-1920x2403.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MasakoMikiShapeshifters.jpg 1636w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Karakasa-obake (umbrella ghost); Ungaikyo (possessed mirror); and Kinoko (mushroom ghost); wool on foam, walnut and wenge wood. (courtesy of Masako Miki and CULT Aimee Friberg Exhibitions)\u003c/figcaption>\u003c/figure>\n\u003cp>For her 2019 \u003ca href=\"https://www.kqed.org/arts/13849453/more-than-just-another-instagram-experience-at-bampfa\" target=\"_blank\" rel=\"noopener noreferrer\">MATRIX 273 solo show\u003c/a> at the Berkeley Art Museum and Pacific Film Archive, Miki dramatically enlarged her previously small-scale felt sculptures to give them an even greater presence—some stand over 6 feet tall. Once inhibited by her inability to bridge language barriers and make friends, Miki now creates colorful installations of felted objects and vinyl shapes that break down some of the formality of fine art settings. “When you have less boundaries, it’s easier to connect,” she says. The shapeshifters’ fluidity is a reminder that we can all change. —\u003cem>Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.masakomiki.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Masako Miki\u003c/a> loves shapeshifters—which makes sense, because she is one. Since she left Japan at age 18 to study art in the United States, her practice has grown and morphed to encompass printmaking, watercolors, felting, installation and large-scale sculpture.\u003c/p>\n\u003cp>That material evolution mirrors changes in her own life; Miki credits her art with helping her learn to communicate and adapt to life in the U.S. as an immigrant. “My first art class in the United States was very important because I felt like I was accepted by the community,” she says. “We have a common language, which is the visual language.”\u003c/p>\n\u003cp>Many of Miki’s works are delicate images of animals, sometimes incongruously paired (like a wolf on the back of a whale), which she admires for their ability to change and survive in different environments. Evolution and metamorphosis, for Miki, is just an animal’s form of cultural survival.\u003c/p>\n\u003cp>More recently, her practice includes abstract felted shapes inspired by Shinto traditions—a Japanese religion that believes everything in the universe is imbued with kami, or spirits. “They’re always more than one singular entity,” Miki explains. “They are such a part of our culture, we see them everywhere.” During a residency in Kamiyama, Japan, Miki reconnected to the Shinto stories and beliefs of her childhood, and became determined to translate that folklore into art objects, imbuing the resulting colorful, fuzzy forms with their own unique characters.\u003c/p>\n\u003cfigure id=\"attachment_13865041\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865041\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/MasakoMikiShapeshifters-800x1001.jpg\" alt=\"Karakasa-obake (umbrella ghost); Ungaikyo (possessed mirror); and Kinoko (mushroom ghost); wool on foam, walnut and wenge wood. (courtesy of Masako Miki and CULT Aimee Friberg Exhibitions)\" width=\"800\" height=\"1001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MasakoMikiShapeshifters-800x1001.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MasakoMikiShapeshifters-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MasakoMikiShapeshifters-768x961.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MasakoMikiShapeshifters-1020x1277.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MasakoMikiShapeshifters-959x1200.jpg 959w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MasakoMikiShapeshifters-1920x2403.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MasakoMikiShapeshifters.jpg 1636w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Karakasa-obake (umbrella ghost); Ungaikyo (possessed mirror); and Kinoko (mushroom ghost); wool on foam, walnut and wenge wood. (courtesy of Masako Miki and CULT Aimee Friberg Exhibitions)\u003c/figcaption>\u003c/figure>\n\u003cp>For her 2019 \u003ca href=\"https://www.kqed.org/arts/13849453/more-than-just-another-instagram-experience-at-bampfa\" target=\"_blank\" rel=\"noopener noreferrer\">MATRIX 273 solo show\u003c/a> at the Berkeley Art Museum and Pacific Film Archive, Miki dramatically enlarged her previously small-scale felt sculptures to give them an even greater presence—some stand over 6 feet tall. Once inhibited by her inability to bridge language barriers and make friends, Miki now creates colorful installations of felted objects and vinyl shapes that break down some of the formality of fine art settings. “When you have less boundaries, it’s easier to connect,” she says. The shapeshifters’ fluidity is a reminder that we can all change. —\u003cem>Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cfigure id=\"attachment_13861576\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861576\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/theycalledusenemy-cover-800x1158.jpeg\" alt=\"'They Called Us Enemy' by George Takei, Justin Eisinger, Steven Scott and Harmony Becker.\" width=\"800\" height=\"1158\">\u003cfigcaption class=\"wp-caption-text\">‘They Called Us Enemy’\u003cbr>by George Takei, Justin Eisinger, Steven Scott and Harmony Becker.\u003c/figcaption>\u003c/figure>\n\u003cp>“Shame is a cruel thing,” writes George Takei in \u003cem>They Called Us Enemy\u003c/em>, his new graphic novel about his childhood years in an American concentration camp during World War II. “It should rest on the perpetrators, but they don’t carry it the way the victims do.”\u003c/p>\n\u003cp>This irony becomes most evident at the conclusion of Takei’s book, where he depicts the U.S. government’s tardy attempts to establish a sense of collective shame about America’s wartime internment of Japanese Americans. “Here we admit a wrong: Here we reaffirm our commitment as a nation to equal justice under law,” President Reagan is shown saying in 1988. But no matter how polished his words — or how many zeros on the restitution check Takei receives in 1991 — such attempts at official remorse ring hollow. What the government did to Takei and some 120,000 other Japanese Americans can’t be undone, no matter how many speeches public officials deliver or how many checks they send.\u003c/p>\n\u003cp>The very structure of Takei’s narrative underlines this fact more than a political speech ever could. It’s young George’s point of view that shapes the story, imbuing it with childlike energy. Even as the Takeis are wrenched from their home, transported hundreds of miles and forced to live in camps, young George’s openness and curiosity are unflagging. His outlook provides a striking contrast to government officials’ stale attempts to explain, excuse and ultimately seek forgiveness for the evil they’ve done.\u003c/p>\n\u003cfigure id=\"attachment_13861572\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861572\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/takei3_custom.jpg\" alt=\"An image from 'They Called Us Enemy.'\" width=\"800\" height=\"247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei3_custom.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei3_custom-160x49.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei3_custom-768x237.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An image from ‘They Called Us Enemy.’ \u003ccite>(Top Shelf Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, despite the grimness of its subject matter, \u003cem>They Called Us Enemy\u003c/em> is a lively, vibrant book. After years spent acting on stage and screen (he’s best known for his role as \u003cem>Star Trek\u003c/em>‘s Lieutenant Sulu), Takei has clearly learned a lot about shaping and directing his audience’s emotions. He’s helped by his co-writers, Justin Eisinger and Steven Scott, and artist Harmony Becker. It’s a shame Becker’s artwork isn’t in color, but she provides a master class on what one can do in a black-and-white format. By incorporating textures ranging from fine hatching to Ben Day dots, she demonstrates how digitally created drawings can have all the dimensionality of work drafted on paper.\u003c/p>\n\u003cp>Becker also helps dramatize the contrast between George’s and his parents’ experiences of their ordeal. It’s spring of 1942 when Takei’s family is first taken from their Los Angeles home. Allowed to keep only what they can carry, Takei’s parents must sell off their belongings for next to nothing. At one point they’re forced to sleep in horses’ stalls, but George views this as an adventure: “We get to sleep where the horses slept! Fun!” For his parents, of course, it’s no such thing. “It was a devastating blow,” Takei writes. “They had worked so hard to buy a two-bedroom house and raise a family… Now we were crammed into a single, smelly horse stall.”\u003c/p>\n\u003cp>That’s the first of numerous occasions when young George’s innocence protects him. When everyone is forced to wear tags — “to keep track of us, like cattle” — he thinks it’s just another train ticket. “I saw people crying and couldn’t understand why,” he remembers. At one camp, another boy tells him the barbed wire is there to keep dinosaurs out. For Takei’s parents, meanwhile, it’s a constant struggle to maintain a sense of order and humanity. Takei’s father helps other families settle in and serves as a translator and mediator, while Takei’s mother sews clothes and makes curtains and rugs.\u003c/p>\n\u003cfigure id=\"attachment_13861573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861573\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/takei4_custom.jpg\" alt=\"An image from 'They Called Us Enemy,' by George Takei. \" width=\"800\" height=\"246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei4_custom.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei4_custom-160x49.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei4_custom-768x236.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An image from ‘They Called Us Enemy,’ by George Takei. \u003ccite>(Top Shelf Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The family’s ordeal doesn’t end in the camps. Once the Takeis are allowed to return to Los Angeles in 1945, they have to live on the street. Enrolled in public school, George endures discrimination from a racist teacher and begins to feel the shame his parents felt. “I was old enough by then to understand that camp was something like jail, but could not fully grasp what we had done to be sent there,” he remembers. As he grows up and becomes an actor, he fights a two-pronged battle: to overcome shame and to reconcile his experiences with America’s stated ideals.\u003c/p>\n\u003cp>It’s a struggle that can probably only be fully understood by a survivor of internment — and probably not by politicians seeking exculpation for acts of bureaucratic evil. But Takei hopes some of those politicians will try. He concludes \u003cem>They Called Us Enemy \u003c/em>with a critique of our current government’s policies treating certain people as “Enemy.”\u003c/p>\n\u003cp>Takei closes with a quote from President Obama saying, in part, that “history … must be a manual for how to avoid repeating the mistakes of the past.” It may be too late to undo what was done to Japanese Americans almost 70 years ago, but Takei suggests it’s not too late to learn from it.\u003c/p>\n\u003cp>\u003cem>Etelka Lehoczky has written about books for\u003c/em> The Atlantic, The Los Angeles Review of Books \u003cem>and\u003c/em> The New York Times. \u003cem>She tweets at\u003c/em> \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__twitter.com_EtelkaL&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=eDR3RhrQF9JBI8Rzx0SRPw&m=vR6dskFG6Pki76w8marL327xnaWSpIVAqnkFp2Pm3ak&s=Mdo8__hjawldjbQthelAboNsxAd-9SFUx24643NrlUM&e=\">@EtelkaL\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "Through his graphic memoir, the 'Star Trek' actor-turned-author shows that while it may be too late to undo the WWII incarceration of Japanese Americans, it's not too late to learn from it.",
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"title": "George Takei Recalls Time In An American Internment Camp In 'They Called Us Enemy' | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13861576\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861576\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/theycalledusenemy-cover-800x1158.jpeg\" alt=\"'They Called Us Enemy' by George Takei, Justin Eisinger, Steven Scott and Harmony Becker.\" width=\"800\" height=\"1158\">\u003cfigcaption class=\"wp-caption-text\">‘They Called Us Enemy’\u003cbr>by George Takei, Justin Eisinger, Steven Scott and Harmony Becker.\u003c/figcaption>\u003c/figure>\n\u003cp>“Shame is a cruel thing,” writes George Takei in \u003cem>They Called Us Enemy\u003c/em>, his new graphic novel about his childhood years in an American concentration camp during World War II. “It should rest on the perpetrators, but they don’t carry it the way the victims do.”\u003c/p>\n\u003cp>This irony becomes most evident at the conclusion of Takei’s book, where he depicts the U.S. government’s tardy attempts to establish a sense of collective shame about America’s wartime internment of Japanese Americans. “Here we admit a wrong: Here we reaffirm our commitment as a nation to equal justice under law,” President Reagan is shown saying in 1988. But no matter how polished his words — or how many zeros on the restitution check Takei receives in 1991 — such attempts at official remorse ring hollow. What the government did to Takei and some 120,000 other Japanese Americans can’t be undone, no matter how many speeches public officials deliver or how many checks they send.\u003c/p>\n\u003cp>The very structure of Takei’s narrative underlines this fact more than a political speech ever could. It’s young George’s point of view that shapes the story, imbuing it with childlike energy. Even as the Takeis are wrenched from their home, transported hundreds of miles and forced to live in camps, young George’s openness and curiosity are unflagging. His outlook provides a striking contrast to government officials’ stale attempts to explain, excuse and ultimately seek forgiveness for the evil they’ve done.\u003c/p>\n\u003cfigure id=\"attachment_13861572\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861572\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/takei3_custom.jpg\" alt=\"An image from 'They Called Us Enemy.'\" width=\"800\" height=\"247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei3_custom.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei3_custom-160x49.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei3_custom-768x237.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An image from ‘They Called Us Enemy.’ \u003ccite>(Top Shelf Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, despite the grimness of its subject matter, \u003cem>They Called Us Enemy\u003c/em> is a lively, vibrant book. After years spent acting on stage and screen (he’s best known for his role as \u003cem>Star Trek\u003c/em>‘s Lieutenant Sulu), Takei has clearly learned a lot about shaping and directing his audience’s emotions. He’s helped by his co-writers, Justin Eisinger and Steven Scott, and artist Harmony Becker. It’s a shame Becker’s artwork isn’t in color, but she provides a master class on what one can do in a black-and-white format. By incorporating textures ranging from fine hatching to Ben Day dots, she demonstrates how digitally created drawings can have all the dimensionality of work drafted on paper.\u003c/p>\n\u003cp>Becker also helps dramatize the contrast between George’s and his parents’ experiences of their ordeal. It’s spring of 1942 when Takei’s family is first taken from their Los Angeles home. Allowed to keep only what they can carry, Takei’s parents must sell off their belongings for next to nothing. At one point they’re forced to sleep in horses’ stalls, but George views this as an adventure: “We get to sleep where the horses slept! Fun!” For his parents, of course, it’s no such thing. “It was a devastating blow,” Takei writes. “They had worked so hard to buy a two-bedroom house and raise a family… Now we were crammed into a single, smelly horse stall.”\u003c/p>\n\u003cp>That’s the first of numerous occasions when young George’s innocence protects him. When everyone is forced to wear tags — “to keep track of us, like cattle” — he thinks it’s just another train ticket. “I saw people crying and couldn’t understand why,” he remembers. At one camp, another boy tells him the barbed wire is there to keep dinosaurs out. For Takei’s parents, meanwhile, it’s a constant struggle to maintain a sense of order and humanity. Takei’s father helps other families settle in and serves as a translator and mediator, while Takei’s mother sews clothes and makes curtains and rugs.\u003c/p>\n\u003cfigure id=\"attachment_13861573\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861573\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/takei4_custom.jpg\" alt=\"An image from 'They Called Us Enemy,' by George Takei. \" width=\"800\" height=\"246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei4_custom.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei4_custom-160x49.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/takei4_custom-768x236.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An image from ‘They Called Us Enemy,’ by George Takei. \u003ccite>(Top Shelf Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The family’s ordeal doesn’t end in the camps. Once the Takeis are allowed to return to Los Angeles in 1945, they have to live on the street. Enrolled in public school, George endures discrimination from a racist teacher and begins to feel the shame his parents felt. “I was old enough by then to understand that camp was something like jail, but could not fully grasp what we had done to be sent there,” he remembers. As he grows up and becomes an actor, he fights a two-pronged battle: to overcome shame and to reconcile his experiences with America’s stated ideals.\u003c/p>\n\u003cp>It’s a struggle that can probably only be fully understood by a survivor of internment — and probably not by politicians seeking exculpation for acts of bureaucratic evil. But Takei hopes some of those politicians will try. He concludes \u003cem>They Called Us Enemy \u003c/em>with a critique of our current government’s policies treating certain people as “Enemy.”\u003c/p>\n\u003cp>Takei closes with a quote from President Obama saying, in part, that “history … must be a manual for how to avoid repeating the mistakes of the past.” It may be too late to undo what was done to Japanese Americans almost 70 years ago, but Takei suggests it’s not too late to learn from it.\u003c/p>\n\u003cp>\u003cem>Etelka Lehoczky has written about books for\u003c/em> The Atlantic, The Los Angeles Review of Books \u003cem>and\u003c/em> The New York Times. \u003cem>She tweets at\u003c/em> \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__twitter.com_EtelkaL&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=eDR3RhrQF9JBI8Rzx0SRPw&m=vR6dskFG6Pki76w8marL327xnaWSpIVAqnkFp2Pm3ak&s=Mdo8__hjawldjbQthelAboNsxAd-9SFUx24643NrlUM&e=\">@EtelkaL\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Two Shows at CounterPulse Offer Nuanced Portrait of Asian-American Identity",
"headTitle": "Two Shows at CounterPulse Offer Nuanced Portrait of Asian-American Identity | KQED",
"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>t’s the sound of water that you notice first, walking into the mainstage space at CounterPulse. The gurgle of a flowing river, the persistent chatter of birds, the crunch of gravel. A voiceover describes the setting as it is now—“brown and overgrown…no place for bougie hipsters”—and as it was when Santa Cruz’ last Chinatown lined the San Lorenzo river: a litany of hands, bodies, and children playing in the river.\u003c/p>\n\u003cp>With that introduction, a woman (Cynthia Ling Lee) in denim overalls and plaid shirt from an earlier century begins to play too, leaping across and splashing in the imaginary water, her body ably capturing the unselfconsciousness of a small child.\u003c/p>\n\u003cfigure id=\"attachment_13847071\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847071\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/CounterPulse_LostChinatownsDuet_credit_RobbieSweeny-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">Cynthia Ling Lee and Clarissa Dyas at play in ‘Lost Chinatowns’ at CounterPulse. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But as with childhood, such idyll cannot last forever. With the introduction of a second dancer, the equally expressive Clarissa Dyas, the piece shifts tonally. As they skip across the stage they sing “Ten Little Chinamen,” mirroring each other, lightly mocking each other, feigning an innocence over the outrageous lyrics we can’t believe. An ominous rumble from Anna Friz’ soundscape weights the atmosphere as two more performers (Lynn Huang and Zoe Huey) enter the stage and help to bring Lee down in a cruel game.\u003c/p>\n\u003cfigure id=\"attachment_13847065\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847065\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/CounterPulse_LostChinatowns_quartet_credit_RobbieSweeny-800x432.jpg\" alt=\"\" width=\"800\" height=\"432\">\u003cfigcaption class=\"wp-caption-text\">Zoe Huey, Cynthia Ling Lee, Lynn Huang, and Clarissa Dyas in ‘Lost Chinatowns’ at CounterPulse. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By turns playful, melancholy, and unflinching, \u003cem>Lost Chinatowns\u003c/em>—one of two pieces in CounterPulse’s \u003ca href=\"http://counterpulse.org/performing-diaspora/\" target=\"_blank\" rel=\"noopener\">Performing Diaspora\u003c/a> series—explores a forgotten history of the Chinese inhabitants of Santa Cruz, hidden in plain sight along the banks of the San Lorenzo river.\u003c/p>\n\u003cp>A professor of dance at UC Santa Cruz, Lee first became aware of the erasure of Santa Cruz’s Chinese community when she tried to buy food for cooking and couldn’t find the ingredients she needed. Home to four successive Chinatowns between 1860 and 1955, Santa Cruz has preserved little trace of its former inhabitants, to the point that not even an Asian grocery store survives. Lee’s initial frustration became an artistic inquiry, which led her to explore the San Lorenzo River, the virulent anti-immigrant language of the courts and politicians over the centuries, the poetry of the migrants, and the photographic essays of George Lee. Directed by herself and Shyamala Moorty, \u003cem>Lost Chinatowns\u003c/em> offers a space for reflection and reckoning, revealing the ways the past continues to inform the modern day.\u003c/p>\n\u003cfigure id=\"attachment_13847070\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847070\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/CounterPulse_LostChinatowns_Bowls_credit_RobbieSweeney-800x364.jpg\" alt=\"\" width=\"800\" height=\"364\">\u003cfigcaption class=\"wp-caption-text\">Zoe Huey, Cynthia Ling Lee, Clarissa Dyas, and Lynn Huang using dishes as percussion instruments in ‘Lost Chinatowns.’ \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">H\u003c/span>ere are some fast facts about Bruce Lee. One of his legs was shorter than the other. He once won a cha-cha dancing competition. He had his underarm sweat glands surgically removed. His childhood nickname was “never-sit-still.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In Melissa Lewis’ \u003cem>I Dreamed Bruce Lee was My Father\u003c/em>, the mythology of one of the United States’ first Asian-American superstars is deconstructed and examined. In Lewis’ multimedia collaboration, three performers (Lewis, Kim Ip, and Nina Wu) pay homage to the man without making him a martyr. By turns humorous (as when they swoon theatrically together as they intone their muses’ name) and heartfelt (as when Lewis dons sparring guards and demands loudly to fight, isolated by a pool of light), \u003cem>I Dreamed Bruce Lee was My Father\u003c/em> imbues hero worship with humanity—and humanity with heroism.\u003c/p>\n\u003cfigure id=\"attachment_13847068\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847068\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/CounterPulse_MelissaLewis_credit_RobbieSweeney-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Melissa Lewis is ready to fight in ‘I Dreamed Bruce Lee was My Father.’ \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An online interview with Lewis, herself of mixed-race heritage, reveals that she really did have a dream in which she and Bruce Lee puttered around the house in a series of mundane activities, just as if they were a father and daughter going about their day. From this first glimpse of Lee’s human side and her feeling of connection to it, a performance piece evolved. Incorporating martial arts technique, Chinese opera makeup, drag, a raucous karaoke segment, movie clips, video games, an elaborate memorial shrine, and a lyrical ode to a buffed-out cardboard-cutout Bruce Lee, the piece virtually explodes with ideas.\u003c/p>\n\u003cfigure id=\"attachment_13847063\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847063\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/CounterPulse_HiKick_credit_RobbieSweeney-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Melissa Lewis, Nina Wu, and Kim Ip in ‘I Dreamed Bruce Lee was My Father’ at CounterPulse. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some of those ideas don’t entirely cohere. At one point Wu tells Lee that she is in awe of him “but not without criticism,” never elucidating those critiques. During the karaoke number, the racism underpinning the song “Kung-Fu Fighting” is taken to task briefly—but it doesn’t lead to a greater revelation of the persistence of outmoded stereotypes. We get the soundbite, but not the deep dive.\u003c/p>\n\u003cp>Taken together, though, the two pieces complement each other admirably. Although developed separately, they work in tandem to cover over 150 years of Asian-American identity in one short hour: from the anonymous migrant poets of the 1800s, to the mixed martial arts aficionados of today.\u003c/p>\n\u003cfigure id=\"attachment_13847067\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847067\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/CounterPulse_NinaWu_MelissaLewis_KimIp_credit_RobbieSweeny-800x493.jpg\" alt=\"\" width=\"800\" height=\"493\">\u003cfigcaption class=\"wp-caption-text\">Nina Wu, Melissa Lewis, and Kim Ip in ‘I Dreamed Bruce Lee was My Father’ at CounterPulse. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>CounterPulse has long been a home for passionate and politicized explorations of societal frameworks, and their Performing Diaspora residency encourages artists working in traditional mediums to explore their artistic heritage for a modern audience. Grappling with big picture questions of identity, erasure, and evolution, Performing Diaspora is for everyone who dares to ask those questions for which no single answer exists.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Lost Chinatowns’ and ‘I Dreamed Bruce Lee was My Father’ continue Dec. 13–15 at CounterPulse in San Francisco. \u003ca href=\"http://counterpulse.org/event/performing-diaspora-2018/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "Two Shows at CounterPulse Offer Nuanced Portrait of Asian-American Identity | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>t’s the sound of water that you notice first, walking into the mainstage space at CounterPulse. The gurgle of a flowing river, the persistent chatter of birds, the crunch of gravel. A voiceover describes the setting as it is now—“brown and overgrown…no place for bougie hipsters”—and as it was when Santa Cruz’ last Chinatown lined the San Lorenzo river: a litany of hands, bodies, and children playing in the river.\u003c/p>\n\u003cp>With that introduction, a woman (Cynthia Ling Lee) in denim overalls and plaid shirt from an earlier century begins to play too, leaping across and splashing in the imaginary water, her body ably capturing the unselfconsciousness of a small child.\u003c/p>\n\u003cfigure id=\"attachment_13847071\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847071\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/CounterPulse_LostChinatownsDuet_credit_RobbieSweeny-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">Cynthia Ling Lee and Clarissa Dyas at play in ‘Lost Chinatowns’ at CounterPulse. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But as with childhood, such idyll cannot last forever. With the introduction of a second dancer, the equally expressive Clarissa Dyas, the piece shifts tonally. As they skip across the stage they sing “Ten Little Chinamen,” mirroring each other, lightly mocking each other, feigning an innocence over the outrageous lyrics we can’t believe. An ominous rumble from Anna Friz’ soundscape weights the atmosphere as two more performers (Lynn Huang and Zoe Huey) enter the stage and help to bring Lee down in a cruel game.\u003c/p>\n\u003cfigure id=\"attachment_13847065\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847065\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/CounterPulse_LostChinatowns_quartet_credit_RobbieSweeny-800x432.jpg\" alt=\"\" width=\"800\" height=\"432\">\u003cfigcaption class=\"wp-caption-text\">Zoe Huey, Cynthia Ling Lee, Lynn Huang, and Clarissa Dyas in ‘Lost Chinatowns’ at CounterPulse. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By turns playful, melancholy, and unflinching, \u003cem>Lost Chinatowns\u003c/em>—one of two pieces in CounterPulse’s \u003ca href=\"http://counterpulse.org/performing-diaspora/\" target=\"_blank\" rel=\"noopener\">Performing Diaspora\u003c/a> series—explores a forgotten history of the Chinese inhabitants of Santa Cruz, hidden in plain sight along the banks of the San Lorenzo river.\u003c/p>\n\u003cp>A professor of dance at UC Santa Cruz, Lee first became aware of the erasure of Santa Cruz’s Chinese community when she tried to buy food for cooking and couldn’t find the ingredients she needed. Home to four successive Chinatowns between 1860 and 1955, Santa Cruz has preserved little trace of its former inhabitants, to the point that not even an Asian grocery store survives. Lee’s initial frustration became an artistic inquiry, which led her to explore the San Lorenzo River, the virulent anti-immigrant language of the courts and politicians over the centuries, the poetry of the migrants, and the photographic essays of George Lee. Directed by herself and Shyamala Moorty, \u003cem>Lost Chinatowns\u003c/em> offers a space for reflection and reckoning, revealing the ways the past continues to inform the modern day.\u003c/p>\n\u003cfigure id=\"attachment_13847070\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847070\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/CounterPulse_LostChinatowns_Bowls_credit_RobbieSweeney-800x364.jpg\" alt=\"\" width=\"800\" height=\"364\">\u003cfigcaption class=\"wp-caption-text\">Zoe Huey, Cynthia Ling Lee, Clarissa Dyas, and Lynn Huang using dishes as percussion instruments in ‘Lost Chinatowns.’ \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">H\u003c/span>ere are some fast facts about Bruce Lee. One of his legs was shorter than the other. He once won a cha-cha dancing competition. He had his underarm sweat glands surgically removed. His childhood nickname was “never-sit-still.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In Melissa Lewis’ \u003cem>I Dreamed Bruce Lee was My Father\u003c/em>, the mythology of one of the United States’ first Asian-American superstars is deconstructed and examined. In Lewis’ multimedia collaboration, three performers (Lewis, Kim Ip, and Nina Wu) pay homage to the man without making him a martyr. By turns humorous (as when they swoon theatrically together as they intone their muses’ name) and heartfelt (as when Lewis dons sparring guards and demands loudly to fight, isolated by a pool of light), \u003cem>I Dreamed Bruce Lee was My Father\u003c/em> imbues hero worship with humanity—and humanity with heroism.\u003c/p>\n\u003cfigure id=\"attachment_13847068\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847068\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/CounterPulse_MelissaLewis_credit_RobbieSweeney-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Melissa Lewis is ready to fight in ‘I Dreamed Bruce Lee was My Father.’ \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An online interview with Lewis, herself of mixed-race heritage, reveals that she really did have a dream in which she and Bruce Lee puttered around the house in a series of mundane activities, just as if they were a father and daughter going about their day. From this first glimpse of Lee’s human side and her feeling of connection to it, a performance piece evolved. Incorporating martial arts technique, Chinese opera makeup, drag, a raucous karaoke segment, movie clips, video games, an elaborate memorial shrine, and a lyrical ode to a buffed-out cardboard-cutout Bruce Lee, the piece virtually explodes with ideas.\u003c/p>\n\u003cfigure id=\"attachment_13847063\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847063\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/CounterPulse_HiKick_credit_RobbieSweeney-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Melissa Lewis, Nina Wu, and Kim Ip in ‘I Dreamed Bruce Lee was My Father’ at CounterPulse. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some of those ideas don’t entirely cohere. At one point Wu tells Lee that she is in awe of him “but not without criticism,” never elucidating those critiques. During the karaoke number, the racism underpinning the song “Kung-Fu Fighting” is taken to task briefly—but it doesn’t lead to a greater revelation of the persistence of outmoded stereotypes. We get the soundbite, but not the deep dive.\u003c/p>\n\u003cp>Taken together, though, the two pieces complement each other admirably. Although developed separately, they work in tandem to cover over 150 years of Asian-American identity in one short hour: from the anonymous migrant poets of the 1800s, to the mixed martial arts aficionados of today.\u003c/p>\n\u003cfigure id=\"attachment_13847067\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13847067\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/CounterPulse_NinaWu_MelissaLewis_KimIp_credit_RobbieSweeny-800x493.jpg\" alt=\"\" width=\"800\" height=\"493\">\u003cfigcaption class=\"wp-caption-text\">Nina Wu, Melissa Lewis, and Kim Ip in ‘I Dreamed Bruce Lee was My Father’ at CounterPulse. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>CounterPulse has long been a home for passionate and politicized explorations of societal frameworks, and their Performing Diaspora residency encourages artists working in traditional mediums to explore their artistic heritage for a modern audience. Grappling with big picture questions of identity, erasure, and evolution, Performing Diaspora is for everyone who dares to ask those questions for which no single answer exists.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Lost Chinatowns’ and ‘I Dreamed Bruce Lee was My Father’ continue Dec. 13–15 at CounterPulse in San Francisco. \u003ca href=\"http://counterpulse.org/event/performing-diaspora-2018/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "hold-these-truths-remembers-one-mans-refusal-to-cede-his-civil-rights-during-wwii",
"title": "'Hold These Truths' Remembers One Man's Refusal to Cede His Civil Rights During WWII",
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"headTitle": "‘Hold These Truths’ Remembers One Man’s Refusal to Cede His Civil Rights During WWII | KQED",
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"content": "\u003cp>The Trump Administration’s policies on travel and immigration have reignited interest in an old precedent from World War II: the mass incarceration of Japanese-Americans by the Roosevelt Administration with Executive Order 9066.\u003c/p>\n\u003cp>Opinion pieces on the right, left and in-between argue over the similarities and differences, but the arguments at the core of the debate are not about the specifics of how people are incarcerated or what legal principle is up for review. We are at a point in time when we are asking as a nation whether it’s OK to target specific ethnic groups to address large and complicated threats to our national welfare. That’s what brings to mind World War II.\u003c/p>\n\u003cp>“Today is the first time, so far as I am aware, that we have sustained a substantial restriction of the personal liberty of citizens of the United States based upon the accident of race or ancestry.” – \u003ci>Hirabayashi v. United States\u003c/i>, 320 U.S. 81 (1943)\u003c/p>\n\u003cp>That political context makes \u003cem>Hold These Truths\u003c/em>, a play written more than a decade ago about that case and the man behind the name Hirabayashi, strikingly resonant as it makes its Bay Area premiere this week with \u003ca href=\"https://theatreworks.org/201819-season/201819-season/hold-these-truths/\" target=\"_blank\" rel=\"noopener\">TheatreWorks Silicon Valley\u003c/a>.\u003c/p>\n\u003cp>Gordon Hirabayashi was a college student in 1942 when he decided to turn himself in for refusing to abide by laws established to isolate Japanese and Japanese-Americans in the Western United States, on no other basis than race.\u003c/p>\n\u003cblockquote>\u003cp>Over sixty percent are American citizens, yet they are denied, without due process of law, the civil liberties which are theirs.\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>If I were to register and cooperate under these circumstances, I would be giving helpless consent to the denial of practically all of the things which give me incentive to live.\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>I consider it my duty to maintain the democratic standards for which this nation lives. Therefore–I must refuse this order for evacuation.\u003c/p>\n\u003cp>Signed, Gordon K. Hirabayashi.\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13837156\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837156\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-800x534.jpg\" alt=\"Joel de la Fuente plays more than 35 characters in the one-man play "Hold These Truths." Director Lisa Rothe says, "It was pretty intense to go through all of those characters and find, you know, the vocal and physical characteristics for each one. That takes [an actor] who's got a tremendous range and flexibility. "\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joel de la Fuente plays more than 35 characters in the one-man play “Hold These Truths.” Director Lisa Rothe says, “It was pretty intense to go through all of those characters and find, you know, the vocal and physical characteristics for each one. That takes [an actor] who’s got a tremendous range and flexibility. “ \u003ccite>(Photo: Courtesy of Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Hold These Truths\u003c/em> was written by Watsonville-born, Los Angeles-based actress Jeanne Sakata. As a Japanese-American, she thought she knew the history of the internment camps.\u003cspan class=\"Apple-converted-space\"> So she was surprised to learn about Hirabayashi by watching a 1992 documentary, \u003ca href=\"https://caamedia.org/films/personal-matter-gordon-hirabayashi-vs-the-united-states/\" target=\"_blank\" rel=\"noopener\">\u003cem>A Personal Matter\u003c/em>\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It just flabbergasted me that I didn’t know. At the same time, the story itself delighted me,” Sakata says.\u003c/p>\n\u003cp>Three Japanese-Americans took their fight against internment all the way to the U.S. Supreme Court in the 1940s. But most people, if they know about the court cases at all, know about \u003cem>Korematsu v. United States\u003c/em>. (The podcast \u003cem>More Perfect\u003c/em> provides an excellent history of that story \u003ca href=\"https://www.wnycstudios.org/story/radiolab-presents-more-perfect-american-pendulum-i/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\u003c/p>\n\u003cp>Sakata considered writing a play about all three: Korematsu, Hirabayashi and \u003ca href=\"https://www.minoruyasuitribute.org\" target=\"_blank\" rel=\"noopener\">Minoru Yasuri\u003c/a>. But the longtime actress had never written a play before, and that challenge seemed too daunting. “It was just a little too much to handle. So I thought I would just focus on telling this one story that I loved so much, and that I never saw in my history books,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13837158\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837158\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-800x934.jpg\" alt=\"After World War II and his landmark court battle, Gordon Hirabayashi became a sociologist.\" width=\"800\" height=\"934\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-800x934.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-160x187.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-768x896.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-1020x1190.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-1028x1200.jpg 1028w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-1180x1377.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-960x1120.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-240x280.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-375x438.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-520x607.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">After World War II and his landmark court battle, Gordon Hirabayashi became a sociologist. \u003ccite>(Photo: Courtesy of the Associated Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Part of what intrigued Sakata was Hirabayashi’s Quaker faith. “I had grown up in a Japanese-American Presbyterian family, and that’s something I never heard of: a second generation Japanese-American Quaker.” Hirabayashi converted in college, but as Sakata learned, it wasn’t a big stretch, given that his parents were members of a Japanese Christian sect called \u003ci>Mukyōkaishugi\u003c/i>, known for its socially progressive values similar to those of the Quakers.\u003c/p>\n\u003cp>Perhaps it took a man given to iconoclasm to pick a fight with the federal government. He had already joined the Quaker-run \u003ca href=\"https://www.afsc.org\" target=\"_blank\" rel=\"noopener\">American Friends Service Committee\u003c/a> by that point, as the group was helping Japanese-Americans thrown into disarray by Executive Order 9066. Later, the ACLU would help him in court.\u003c/p>\n\u003cp>Like Korematsu and Yasui, Hirabayashi lost before the U.S. Supreme Court. He was legally vindicated in the 1980s, though. Hirabayashi’s convictions on both charges were overturned by the U.S. District Court in Seattle and the federal appeals curt, because evidence arose that the Solicitor General’s office cited examples of Japanese-American sabotage in its Supreme Court arguments, despite having determined the rumored incidents were indeed rumors only.\u003c/p>\n\u003cp>Hirabayashi died in 2012 and received a posthumous Presidential Medal of Freedom from President Barack Obama.\u003c/p>\n\u003ch2>A Showcase for An Asian-American Actor\u003c/h2>\n\u003cp>\u003cem>Hold These Truths\u003c/em> provides plenty of opportunity to stretch for Joel de la Fuente, perhaps best known for his role as Inspector Kido in Amazon’s \u003ca href=\"https://www.amazon.com/Man-High-Castle-Season/dp/B00RSGIVVO\" target=\"_blank\" rel=\"noopener\">\u003cem>The Man in the High Castle\u003c/em>\u003c/a>. He gets to play more than 35 characters, switching between them with impressively deft rapidity, sometimes mid-sentence.\u003c/p>\n\u003cp>Sakata says, “I really wanted one Asian-American actor to have a chance to show his virtuosity. You see him do one role on \u003cem>High Castle,\u003c/em> but in this play, you get to see him play an amazing array.” In a way, the role is a vindication for Sakata, too, she says, having suffered as an actress from the paucity of complex roles written for Asian-Americans during her own career.\u003c/p>\n\u003cp>Watch de la Fuente perform a conversation between Gordon Hirabayashi and his mother in \u003cem>Hold These Truths\u003c/em>.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=H-Gi2BMEYqA]\u003c/p>\n\u003cp>\u003cem>Hold These Truths\u003c/em> made its world premiere in 2007 in Los Angeles with \u003ca href=\"http://www.eastwestplayers.org\" target=\"_blank\" rel=\"noopener\">East West Players\u003c/a>, the nation’s oldest Asian-American theater company.\u003c/p>\n\u003cp>Sakata says she originally wrote the play to preserve and celebrate the history, even though now it sounds like it was ripped from today’s news headlines. “We are in a time right now politically where we need some beam of light, some hope, and I hope that the story will provide that, will inspire us to stand for what’s right even when times are going against us.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.lisarothe.com\" target=\"_blank\" rel=\"noopener\">Lisa Rothe\u003c/a>, who’s been directing this play since 2009, agrees that audience reaction has changed markedly over the years the play has traveled the country. Rothe says, “Before the election [of President Donald Trump], the conversation was on a shelf. Like, ‘Aren’t we happy that we’ve moved beyond this?’ Now, to actually see it on the front pages of the newspaper is pretty extraordinary, and depressing.\u003c/p>\n\u003cp>Even if you don’t agree with the politics of the play, it is a rip-roaring ride through a dramatic chapter in American history, and a reminder that the civil liberties promised in this nation’s founding documents are still the subject of continuous debate and conflict.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Hold These Truths\u003c/strong> runs through August 5th at the Lucie Stern Theatre in Palo Alto. More info \u003ca href=\"https://theatreworks.org/201819-season/201819-season/hold-these-truths/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "'Hold These Truths' Remembers One Man's Refusal to Cede His Civil Rights During WWII | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Trump Administration’s policies on travel and immigration have reignited interest in an old precedent from World War II: the mass incarceration of Japanese-Americans by the Roosevelt Administration with Executive Order 9066.\u003c/p>\n\u003cp>Opinion pieces on the right, left and in-between argue over the similarities and differences, but the arguments at the core of the debate are not about the specifics of how people are incarcerated or what legal principle is up for review. We are at a point in time when we are asking as a nation whether it’s OK to target specific ethnic groups to address large and complicated threats to our national welfare. That’s what brings to mind World War II.\u003c/p>\n\u003cp>“Today is the first time, so far as I am aware, that we have sustained a substantial restriction of the personal liberty of citizens of the United States based upon the accident of race or ancestry.” – \u003ci>Hirabayashi v. United States\u003c/i>, 320 U.S. 81 (1943)\u003c/p>\n\u003cp>That political context makes \u003cem>Hold These Truths\u003c/em>, a play written more than a decade ago about that case and the man behind the name Hirabayashi, strikingly resonant as it makes its Bay Area premiere this week with \u003ca href=\"https://theatreworks.org/201819-season/201819-season/hold-these-truths/\" target=\"_blank\" rel=\"noopener\">TheatreWorks Silicon Valley\u003c/a>.\u003c/p>\n\u003cp>Gordon Hirabayashi was a college student in 1942 when he decided to turn himself in for refusing to abide by laws established to isolate Japanese and Japanese-Americans in the Western United States, on no other basis than race.\u003c/p>\n\u003cblockquote>\u003cp>Over sixty percent are American citizens, yet they are denied, without due process of law, the civil liberties which are theirs.\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>If I were to register and cooperate under these circumstances, I would be giving helpless consent to the denial of practically all of the things which give me incentive to live.\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>I consider it my duty to maintain the democratic standards for which this nation lives. Therefore–I must refuse this order for evacuation.\u003c/p>\n\u003cp>Signed, Gordon K. Hirabayashi.\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_13837156\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837156\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-800x534.jpg\" alt=\"Joel de la Fuente plays more than 35 characters in the one-man play "Hold These Truths." Director Lisa Rothe says, "It was pretty intense to go through all of those characters and find, you know, the vocal and physical characteristics for each one. That takes [an actor] who's got a tremendous range and flexibility. "\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31791_HTT_KevinBerne7-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joel de la Fuente plays more than 35 characters in the one-man play “Hold These Truths.” Director Lisa Rothe says, “It was pretty intense to go through all of those characters and find, you know, the vocal and physical characteristics for each one. That takes [an actor] who’s got a tremendous range and flexibility. “ \u003ccite>(Photo: Courtesy of Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Hold These Truths\u003c/em> was written by Watsonville-born, Los Angeles-based actress Jeanne Sakata. As a Japanese-American, she thought she knew the history of the internment camps.\u003cspan class=\"Apple-converted-space\"> So she was surprised to learn about Hirabayashi by watching a 1992 documentary, \u003ca href=\"https://caamedia.org/films/personal-matter-gordon-hirabayashi-vs-the-united-states/\" target=\"_blank\" rel=\"noopener\">\u003cem>A Personal Matter\u003c/em>\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It just flabbergasted me that I didn’t know. At the same time, the story itself delighted me,” Sakata says.\u003c/p>\n\u003cp>Three Japanese-Americans took their fight against internment all the way to the U.S. Supreme Court in the 1940s. But most people, if they know about the court cases at all, know about \u003cem>Korematsu v. United States\u003c/em>. (The podcast \u003cem>More Perfect\u003c/em> provides an excellent history of that story \u003ca href=\"https://www.wnycstudios.org/story/radiolab-presents-more-perfect-american-pendulum-i/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\u003c/p>\n\u003cp>Sakata considered writing a play about all three: Korematsu, Hirabayashi and \u003ca href=\"https://www.minoruyasuitribute.org\" target=\"_blank\" rel=\"noopener\">Minoru Yasuri\u003c/a>. But the longtime actress had never written a play before, and that challenge seemed too daunting. “It was just a little too much to handle. So I thought I would just focus on telling this one story that I loved so much, and that I never saw in my history books,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13837158\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837158\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-800x934.jpg\" alt=\"After World War II and his landmark court battle, Gordon Hirabayashi became a sociologist.\" width=\"800\" height=\"934\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-800x934.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-160x187.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-768x896.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-1020x1190.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-1028x1200.jpg 1028w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-1180x1377.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-960x1120.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-240x280.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-375x438.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut-520x607.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/RS31793_Gordon20Hirabayashi_AP20Photo_1985-qut.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">After World War II and his landmark court battle, Gordon Hirabayashi became a sociologist. \u003ccite>(Photo: Courtesy of the Associated Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Part of what intrigued Sakata was Hirabayashi’s Quaker faith. “I had grown up in a Japanese-American Presbyterian family, and that’s something I never heard of: a second generation Japanese-American Quaker.” Hirabayashi converted in college, but as Sakata learned, it wasn’t a big stretch, given that his parents were members of a Japanese Christian sect called \u003ci>Mukyōkaishugi\u003c/i>, known for its socially progressive values similar to those of the Quakers.\u003c/p>\n\u003cp>Perhaps it took a man given to iconoclasm to pick a fight with the federal government. He had already joined the Quaker-run \u003ca href=\"https://www.afsc.org\" target=\"_blank\" rel=\"noopener\">American Friends Service Committee\u003c/a> by that point, as the group was helping Japanese-Americans thrown into disarray by Executive Order 9066. Later, the ACLU would help him in court.\u003c/p>\n\u003cp>Like Korematsu and Yasui, Hirabayashi lost before the U.S. Supreme Court. He was legally vindicated in the 1980s, though. Hirabayashi’s convictions on both charges were overturned by the U.S. District Court in Seattle and the federal appeals curt, because evidence arose that the Solicitor General’s office cited examples of Japanese-American sabotage in its Supreme Court arguments, despite having determined the rumored incidents were indeed rumors only.\u003c/p>\n\u003cp>Hirabayashi died in 2012 and received a posthumous Presidential Medal of Freedom from President Barack Obama.\u003c/p>\n\u003ch2>A Showcase for An Asian-American Actor\u003c/h2>\n\u003cp>\u003cem>Hold These Truths\u003c/em> provides plenty of opportunity to stretch for Joel de la Fuente, perhaps best known for his role as Inspector Kido in Amazon’s \u003ca href=\"https://www.amazon.com/Man-High-Castle-Season/dp/B00RSGIVVO\" target=\"_blank\" rel=\"noopener\">\u003cem>The Man in the High Castle\u003c/em>\u003c/a>. He gets to play more than 35 characters, switching between them with impressively deft rapidity, sometimes mid-sentence.\u003c/p>\n\u003cp>Sakata says, “I really wanted one Asian-American actor to have a chance to show his virtuosity. You see him do one role on \u003cem>High Castle,\u003c/em> but in this play, you get to see him play an amazing array.” In a way, the role is a vindication for Sakata, too, she says, having suffered as an actress from the paucity of complex roles written for Asian-Americans during her own career.\u003c/p>\n\u003cp>Watch de la Fuente perform a conversation between Gordon Hirabayashi and his mother in \u003cem>Hold These Truths\u003c/em>.\u003c/p>\n\u003cp>\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/H-Gi2BMEYqA'\n title='//www.youtube.com/embed/H-Gi2BMEYqA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>Hold These Truths\u003c/em> made its world premiere in 2007 in Los Angeles with \u003ca href=\"http://www.eastwestplayers.org\" target=\"_blank\" rel=\"noopener\">East West Players\u003c/a>, the nation’s oldest Asian-American theater company.\u003c/p>\n\u003cp>Sakata says she originally wrote the play to preserve and celebrate the history, even though now it sounds like it was ripped from today’s news headlines. “We are in a time right now politically where we need some beam of light, some hope, and I hope that the story will provide that, will inspire us to stand for what’s right even when times are going against us.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.lisarothe.com\" target=\"_blank\" rel=\"noopener\">Lisa Rothe\u003c/a>, who’s been directing this play since 2009, agrees that audience reaction has changed markedly over the years the play has traveled the country. Rothe says, “Before the election [of President Donald Trump], the conversation was on a shelf. Like, ‘Aren’t we happy that we’ve moved beyond this?’ Now, to actually see it on the front pages of the newspaper is pretty extraordinary, and depressing.\u003c/p>\n\u003cp>Even if you don’t agree with the politics of the play, it is a rip-roaring ride through a dramatic chapter in American history, and a reminder that the civil liberties promised in this nation’s founding documents are still the subject of continuous debate and conflict.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Hold These Truths\u003c/strong> runs through August 5th at the Lucie Stern Theatre in Palo Alto. More info \u003ca href=\"https://theatreworks.org/201819-season/201819-season/hold-these-truths/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How Many Jobs Does a Musician Need To Stay in San Francisco?",
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"headTitle": "How Many Jobs Does a Musician Need To Stay in San Francisco? | KQED",
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"content": "\u003cp>Theo Alvarez says he gets six hours sleep a night. But it’s hard to imagine how he even sleeps at all.\u003c/p>\n\u003cfigure id=\"attachment_13829262\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13829262\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Theo-stats-b.jpg\" alt=\"By the numbers\" width=\"250\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Theo-stats-b.jpg 250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Theo-stats-b-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Theo-stats-b-240x320.jpg 240w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">By the numbers. \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to his creative pursuits as \u003ca href=\"https://about.me/jibril.alvarez\" target=\"_blank\" rel=\"noopener\">a jazz pianist, music producer, bandleader, photographer and multimedia performance artist\u003c/a>, the 29-year-old San Franciscan works as a facility manager and docent at the \u003ca href=\"https://manilatown.org/\" target=\"_blank\" rel=\"noopener\">I-Hotel Manilatown Center\u003c/a> (a historical landmark and community activism hub in North Beach), does freelance graphic and web design, drives for Uber and Lyft, and recently launched an organic fruit delivery business.\u003c/p>\n\u003cp>“I sleep when the fruit runs out,” he says. \u003c/p>\n\u003cp>Alvarez eats a raw vegan diet, so his new business enables him to eat mostly for free. “I buy in bulk, and then I sell it to make the money back, and then still have some left over to sustain me,” he says, adding that he spends up to $300 a week on produce.\u003c/p>\n\u003cfigure id=\"attachment_13829270\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829270\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-800x532.jpg\" alt=\"Theo Alvarez at the I-Hotel Manilatown Center, where he teaches.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-1200x798.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Theo Alvarez at the I-Hotel Manilatown Center, where he works as a facility manager and docent. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite Alvarez’s exceedingly healthy, low-cost diet, making ends meet in order to continue to live in his hometown is an exhausting, ongoing challenge. “I’ve definitely forgotten to take time out, running around trying to do this and trying to do that,” he says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Last year, Alvarez says he earned around $45,000. Most of his earnings came from driving people around the city for Uber and Lyft, so his car-related expenses are, unsurprisingly, steep. He finances his 2015 Subaru at $700 a month. Then there’s $200 in car insurance and at least $150 in gas. As for housing, he pays $1,700 in monthly rent, plus $100 in renter’s insurance.\u003c/p>\n\u003ch2>A place to call home\u003c/h2>\n\u003cp>Finding affordable housing was, until recently, Alvarez’s biggest challenge. The combination of the stratospheric Bay Area rental market, the piecemeal nature of his work, and a low credit score made it hard for Alvarez to sign a lease on an apartment. For years, he floated between month-to-month roommate situations in the East Bay, the North Bay and San Francisco. “There were times in between renting different places where I was forced to rely on the kindness of family and friends,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13829269\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829269\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-800x534.jpg\" alt=\"Theo Alvarez on revolving loans: 'Over time, it just eats away at your income.'\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Theo Alvarez on revolving loans: ‘Over time, it just eats away at your income.’ \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alvarez’s financial stability took a turn for the worse when he got into a cycle of taking out short term micro-loans to cover his costs. “That’s why it’s called a revolving loan, because people take the loan out and then they pay it back and take it out again,” he explains. “Over time, it just eats away at your income. I would highly advise against it.”\u003c/p>\n\u003cp>Happily, Alvarez was recently able to get on top of his finances after some coaching from the \u003ca href=\"http://medasf.org/\" target=\"_blank\" rel=\"noopener\">Mission Economic Development Agency\u003c/a>, a non-profit, low-income advocacy organization based in the Mission. He cleared up his credit score and was able to sign a one-year lease on a live-work studio in downtown San Francisco, just blocks away from his job at the I-Hotel Manilatown Center.\u003c/p>\n\u003cp>Alvarez says having his own digs is a game-changer. “In all my experience of struggling to do what I do, I can say without a doubt that in order to develop and produce art, space is an extremely crucial element,” he says. “A safe, physical place for the artist’s vision to take shape, and a space where it can be shared with and enjoyed by others.”\u003c/p>\n\u003cfigure id=\"attachment_13828869\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-800x452.jpg\" alt=\"Theo Alvarez plays the piano at the I-Hotel Manilatown Center in North Beach.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435.jpg 1776w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Theo Alvarez plays the piano at the I-Hotel Manilatown Center in North Beach. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Defying ‘starving artist’ syndrome\u003c/h2>\n\u003cp>Down the line, Alvarez says he’d like to one day buy his own home and raise a family. But for now, he’s focused on growing his fruit business and trying to get more lucrative media and design gigs, perhaps in the tech industry. Though he enjoys driving, he’d like to do it less. “I feel like my time and talents could definitely be put in other areas,” Alvarez says.\u003c/p>\n\u003cp>And while life has been tough on some fronts, Alvarez is committed to staying in the Bay Area.\u003c/p>\n\u003cp>For one thing, he’s proud of his local roots as a first-generation, American-born Filipino who earned his education at \u003ca href=\"http://www.sfsu.edu/\" target=\"_blank\" rel=\"noopener\">San Francisco State University\u003c/a> and \u003ca href=\"https://www.ccsf.edu/\" target=\"_blank\" rel=\"noopener\">City College of San Francisco\u003c/a>. “English is my native language,” he says. “But I also speak and study Tagalog, Spanish, Japanese and Chinese due to growing up in the multi-ethnic environment that is San Francisco.”\u003c/p>\n\u003cfigure id=\"attachment_13829268\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829268\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-800x534.jpg\" alt=\"Theo Alvarez in San Francisco.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Theo Alvarez in San Francisco. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For another, Alvarez doesn’t see his future in San Francisco as that of the stereotypical “starving artist.” In recent years, he says he’s met people who are able to sustain successful artistic careers in the city, which has given him hope.\u003c/p>\n\u003cp>“I think the biggest shock is discovering that you can make it as an artist in the Bay Area,” he says. “I’ve met artists who have gone through the wringer, and they were able to get into a situation where they are living comfortably. I realized this is definitely possible. It’s doable.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "Living in San Francisco on $45,000 a year, Theo Alvarez somehow gets six hours of sleep a night working numerous side gigs.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Theo Alvarez says he gets six hours sleep a night. But it’s hard to imagine how he even sleeps at all.\u003c/p>\n\u003cfigure id=\"attachment_13829262\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13829262\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Theo-stats-b.jpg\" alt=\"By the numbers\" width=\"250\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Theo-stats-b.jpg 250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Theo-stats-b-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Theo-stats-b-240x320.jpg 240w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">By the numbers. \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to his creative pursuits as \u003ca href=\"https://about.me/jibril.alvarez\" target=\"_blank\" rel=\"noopener\">a jazz pianist, music producer, bandleader, photographer and multimedia performance artist\u003c/a>, the 29-year-old San Franciscan works as a facility manager and docent at the \u003ca href=\"https://manilatown.org/\" target=\"_blank\" rel=\"noopener\">I-Hotel Manilatown Center\u003c/a> (a historical landmark and community activism hub in North Beach), does freelance graphic and web design, drives for Uber and Lyft, and recently launched an organic fruit delivery business.\u003c/p>\n\u003cp>“I sleep when the fruit runs out,” he says. \u003c/p>\n\u003cp>Alvarez eats a raw vegan diet, so his new business enables him to eat mostly for free. “I buy in bulk, and then I sell it to make the money back, and then still have some left over to sustain me,” he says, adding that he spends up to $300 a week on produce.\u003c/p>\n\u003cfigure id=\"attachment_13829270\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829270\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-800x532.jpg\" alt=\"Theo Alvarez at the I-Hotel Manilatown Center, where he teaches.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-1200x798.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_8-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Theo Alvarez at the I-Hotel Manilatown Center, where he works as a facility manager and docent. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite Alvarez’s exceedingly healthy, low-cost diet, making ends meet in order to continue to live in his hometown is an exhausting, ongoing challenge. “I’ve definitely forgotten to take time out, running around trying to do this and trying to do that,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Last year, Alvarez says he earned around $45,000. Most of his earnings came from driving people around the city for Uber and Lyft, so his car-related expenses are, unsurprisingly, steep. He finances his 2015 Subaru at $700 a month. Then there’s $200 in car insurance and at least $150 in gas. As for housing, he pays $1,700 in monthly rent, plus $100 in renter’s insurance.\u003c/p>\n\u003ch2>A place to call home\u003c/h2>\n\u003cp>Finding affordable housing was, until recently, Alvarez’s biggest challenge. The combination of the stratospheric Bay Area rental market, the piecemeal nature of his work, and a low credit score made it hard for Alvarez to sign a lease on an apartment. For years, he floated between month-to-month roommate situations in the East Bay, the North Bay and San Francisco. “There were times in between renting different places where I was forced to rely on the kindness of family and friends,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13829269\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829269\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-800x534.jpg\" alt=\"Theo Alvarez on revolving loans: 'Over time, it just eats away at your income.'\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_7-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Theo Alvarez on revolving loans: ‘Over time, it just eats away at your income.’ \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alvarez’s financial stability took a turn for the worse when he got into a cycle of taking out short term micro-loans to cover his costs. “That’s why it’s called a revolving loan, because people take the loan out and then they pay it back and take it out again,” he explains. “Over time, it just eats away at your income. I would highly advise against it.”\u003c/p>\n\u003cp>Happily, Alvarez was recently able to get on top of his finances after some coaching from the \u003ca href=\"http://medasf.org/\" target=\"_blank\" rel=\"noopener\">Mission Economic Development Agency\u003c/a>, a non-profit, low-income advocacy organization based in the Mission. He cleared up his credit score and was able to sign a one-year lease on a live-work studio in downtown San Francisco, just blocks away from his job at the I-Hotel Manilatown Center.\u003c/p>\n\u003cp>Alvarez says having his own digs is a game-changer. “In all my experience of struggling to do what I do, I can say without a doubt that in order to develop and produce art, space is an extremely crucial element,” he says. “A safe, physical place for the artist’s vision to take shape, and a space where it can be shared with and enjoyed by others.”\u003c/p>\n\u003cfigure id=\"attachment_13828869\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-800x452.jpg\" alt=\"Theo Alvarez plays the piano at the I-Hotel Manilatown Center in North Beach.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/theo-alvarez-1-e1522973189435.jpg 1776w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Theo Alvarez plays the piano at the I-Hotel Manilatown Center in North Beach. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Defying ‘starving artist’ syndrome\u003c/h2>\n\u003cp>Down the line, Alvarez says he’d like to one day buy his own home and raise a family. But for now, he’s focused on growing his fruit business and trying to get more lucrative media and design gigs, perhaps in the tech industry. Though he enjoys driving, he’d like to do it less. “I feel like my time and talents could definitely be put in other areas,” Alvarez says.\u003c/p>\n\u003cp>And while life has been tough on some fronts, Alvarez is committed to staying in the Bay Area.\u003c/p>\n\u003cp>For one thing, he’s proud of his local roots as a first-generation, American-born Filipino who earned his education at \u003ca href=\"http://www.sfsu.edu/\" target=\"_blank\" rel=\"noopener\">San Francisco State University\u003c/a> and \u003ca href=\"https://www.ccsf.edu/\" target=\"_blank\" rel=\"noopener\">City College of San Francisco\u003c/a>. “English is my native language,” he says. “But I also speak and study Tagalog, Spanish, Japanese and Chinese due to growing up in the multi-ethnic environment that is San Francisco.”\u003c/p>\n\u003cfigure id=\"attachment_13829268\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829268\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-800x534.jpg\" alt=\"Theo Alvarez in San Francisco.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/KQED_Theo_Alvarez_Graham_Holoch_5-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Theo Alvarez in San Francisco. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For another, Alvarez doesn’t see his future in San Francisco as that of the stereotypical “starving artist.” In recent years, he says he’s met people who are able to sustain successful artistic careers in the city, which has given him hope.\u003c/p>\n\u003cp>“I think the biggest shock is discovering that you can make it as an artist in the Bay Area,” he says. “I’ve met artists who have gone through the wringer, and they were able to get into a situation where they are living comfortably. I realized this is definitely possible. It’s doable.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"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?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
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