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"content": "\u003cp>\u003cem>To commemorate the 10th anniversary of Oscar Grant’s death, KQED \u003ca href=\"https://www.kqed.org/arts/13847179/dear-oscar-grant\" target=\"_blank\" rel=\"noopener noreferrer\">asked\u003c/a> you to look back on Grant’s life and legacy. What would you say to Oscar Grant today? What changes have you seen in your community over the past decade? What hopes do you have for the future?\u003c/em>\u003c/p>\n\u003cp>The response was overwhelming. Here, we present a selection of your responses—the things you’d tell Oscar Grant if you had the chance. Read them below, and see the rest of our \u003ca href=\"https://www.kqed.org/arts/series/oscar-grant-10-years\" target=\"_blank\" rel=\"noopener noreferrer\">Oscar Grant 10 Years Later\u003c/a> coverage \u003ca href=\"https://www.kqed.org/arts/series/oscar-grant-10-years\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>My first job as a teenager was working with you and your cousin John in the meat market of Farmer Joe’s, our local grocery store. You were always quick to make a joke or flash a smile. Your enthusiasm helped pass countless hours at a job that wasn’t exactly glamorous. I’ll never forget the pit in my stomach I felt when I saw your face in that morning’s paper. Hoping you’re in a better place.\u003c/p>\n\u003cp>Take care O.\u003c/p>\n\u003cp>\u003cem>—Rafi Ronquillo, Oakland\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>I was a freshman in college, fresh off the euphoria of working to get Barack Obama elected. I remember contemplating taking time off school to organize, and being reminded that the work to create a more perfect, fair, and inclusive union is far from finished. Rest in power.\u003c/p>\n\u003cp>\u003cem>—Michael Tubbs, Mayor of Stockton\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>Brother, I was 18 years old and your murder was the firsthand experience my grandmother had always told me about. She used to tell me that as a black man I had to stay aware of my surroundings and be careful of the law. Growing up, I had been harassed by the police and thought it was just something they did to black and brown males routinely. Your murder opened my eyes and helped me realize it is possible I could be murdered by law officials with no type of accommodation or justice. Nothing can ever replace your life.\u003c/p>\n\u003cp>\u003cem>—Drakkar Noir, Berkeley\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>[contextly_sidebar id=”A31JO9bXZcTeCW2A8bsHO4ivdur00AQx”]\u003c/p>\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>As I craft this message on a southbound BART train that’s pulling into West Oakland, there’s not a single trip through Fruitvale where I don’t remember your name. Leave it up to me, and that station would be renamed after you.\u003c/p>\n\u003cp>\u003cem>—Andrew, San Jose, CA\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>You know those days when everything moves in slow motion, and you notice each moment? I had one of those days at the grocery store once when you cut me some beautiful salmon at the deli. I remember you making the cuts and watching the pink of the fish. While I never knew you, I felt the loss of you, as one does when a community member is taken.\u003c/p>\n\u003cp>\u003cem>—Frances Fortini, San Francisco\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>We went to church together at Palma Ceia Baptist Church in Hayward. Although you were a few years older than me, we both grew up in that church. You and I even played on the basketball team sponsored by Palma Ceia; those were some of my most enjoyable times playing the game. I distinctly remember watching you play and lead the 13-15 team. I looked up to you on the court as somebody who went hard, respected his teammates, and played with a love for the game that was apparent.\u003c/p>\n\u003cp>It was these moments at Palma Ceia that made your unjust and untimely demise hard to take in. To see someone that I’ve shared experiences with get cut down in such a violent and indifferent manner let me know that it could happen to me—and anyone like me.\u003c/p>\n\u003cp>Oscar, you were a value in life and you are still a value. What happened to you galvanized the Town and black people around the nation. It ushered in a new era of resistance to state violence and drove home for a new generation the urgency of eradicating structural racism. I know this will never fill the hole left in your family’s heart, but you should know you did not die in vain.\u003c/p>\n\u003cp>Rest in Peace Brother.\u003c/p>\n\u003cp>\u003cem>—J. Turner, San Diego\u003c/em>\u003c/p>\n\u003cp>[contextly_sidebar id=”DAyIbpeMPfqyXNn1MfW6eb5hb9uk88cv”]\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>They took you away just as you were bringing new life to yourself and your family. We fight for you in the hope that it never happens again.\u003c/p>\n\u003cp>\u003cem>—Semhar, California\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>I live five minutes away from where you died, and when I’m on the same BART platform, I ask myself: What happens to all of that potential and energy? What about the communal grief and rage? When precious life is squandered, how much light and life and love is lost, do we lose our own humanity?\u003c/p>\n\u003cp>Your death sparked protests, activists in the streets, and continued through the grief and criminal trial, because your life matters. You are loved, you are missed, you will never be forgotten.\u003c/p>\n\u003cp>Rest In Peace, Oscar Grant.\u003c/p>\n\u003cp>\u003cem>—Kristy Higares, Oakland\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>If I could tell you to stay home with your family, I would. If I could tell you to always watch out for your surroundings, I would. What I can’t tell you is that police brutality will end, because it won’t. What I can’t say is the color of your skin wasn’t your fault, because it was. This world has been so disgusting and I am sorry you had to get stuck in the middle of their stupidity and cowardliness.\u003c/p>\n\u003cp>Your family and friends stand by to keep you in our memories. Your life was worth more than to be taken away at a BART station for doing nothing. Your life was worth so much more than an object that those in a higher power feel they can control. You \u003cem>are\u003c/em> so much more, and your life and story will live on to show the oppression many of us people of color have to face.\u003c/p>\n\u003cp>\u003cem>—Jocelyn Alcala, student at Arise High School, Oakland\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>[contextly_sidebar id=”zsXdmfeg8EMh5ojNWti4rd02ZJ66lYlr”]\u003c/p>\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>I want to tell you that you have one of the strongest mothers in the world. She nurtures other mothers and families that don’t know how to deal with losing their children and loved ones. She saves lives by witnessing and standing behind them in a time of need. She has started a basketball team, she gives scholarships, she does backpack drives, she travels on the regular to speak and hold seminars about violence. She has became an activist, and spokeswoman, and she is your voice.\u003c/p>\n\u003cp>One thing that I will say is that “I AM OSCAR GRANT.” Rest easy, baby boy. I never got a chance to meet you, but I know you. Forever Fruitvale Station.\u003c/p>\n\u003cp>\u003cem>—Lakisha Carmon, Stockton\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>It’s been 10 years. I went into labor that night. My daughter turns 10 on Jan. 2. I often ask myself: How was I bringing life into this world, when someone was stealing life from you?\u003c/p>\n\u003cp>You deserve to be here. I still drive down the streets of Oakland wondering who you would’ve become. The potential that left with you that night. The daughter who had to be told that daddy wasn’t coming home.\u003c/p>\n\u003cp>Your story is one that Oakland will never be able to hide. Oakland changed in a way we didn’t know was possible after your death. I want to say we grew stronger because of you. I want to say we see each other through different eyes because of you. I want to say that I’m sorry that your life ending had to be the thing to bring us closer together. What would Oakland look like through your eyes after these 10 years?\u003c/p>\n\u003cp>\u003cem>—Deema, Oakland\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>I first heard about you 10 years ago. I was only seven years old, but I still managed to understand the injustice that occurred to you. It’s something that horribly became common in our world, and it shouldn’t have.\u003c/p>\n\u003cp>You were a fellow member of our community in Oakland, a son, a father, an uncle, a friend, and so much in that day. Oscar Grant, you are someone that is greatly remembered, and you were able to open many people’s eyes. You opened my eyes. Don’t give up on us. Don’t give up on Oakland.\u003c/p>\n\u003cp>\u003cem>—Ariana Perfino, student at Arise High School, Oakland\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>[contextly_sidebar id=”PAHpEzOVBWXfXeVcMO02T36kweluOQiL”]\u003c/p>\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>In 2009, I was living in Los Angeles, where I was born and raised, and working for a nonprofit downtown. In 2009, I was trying to figure out what I wanted to do with my life, thinking about getting a law degree or a masters in public policy.\u003c/p>\n\u003cp>In 2009, your life was taken. I felt so much sadness and outrage when I learned about what had happened to you, and when I watched the video of how you were treated. I felt so helpless. When the trial was moved to Los Angeles, I went to the courthouse to protest police brutality. It was how my grief manifested. It didn’t feel good enough.\u003c/p>\n\u003cp>Shortly after, I decided to apply for grad school. I wanted to be in Oakland. I didn’t know much about the Bay Area, I’d never lived anywhere but LA. But seeing how the community came together to expose the systemic issues that led to that event made me want to be in the Bay, even if it was only for two years.\u003c/p>\n\u003cp>Now, eight years later, I’m still in Oakland. I try my best to be a champion of equity, to be a positive change in my community. For four years, I rode BART from Fruitvale into San Francisco for work. I thought about you often and still do.\u003c/p>\n\u003cp>I wish I could tell you that lots has changed since 2009, but I think the challenges have only gotten greater. I write this to you only to let you know that you had a huge impact on my life. I hope one day we’ll be able to say what happened to you would never happen in this day and age.\u003c/p>\n\u003cp>\u003cem>—Susan, Oakland\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>As an African American male myself, my grandmother used to always be afraid for me to go out on New Year’s Eve, the Fourth of July and other holidays. It used to always annoy me, and I remember when your tragic situation happened. It basically reaffirmed everything she was afraid of.\u003c/p>\n\u003cp>Every time I go by Fruitvale Station, I call it Grant Station in your honor.\u003c/p>\n\u003cp>Your life and your death taught me that you can die any day. What you do in life is not measured by how many years you live, it’s about the impact when you’re here. I feel bad, almost, for feeling bad for myself. The times when I’m down, the times when I’m sad, I think about those people who aren’t here today to live life, and I try to be appreciative of the fact of just living life.\u003c/p>\n\u003cp>I’m leaving this voicemail at 2:04am after a frustrating day, but I had to make a comment because life is fragile and the best way to handle it is by living it to the fullest every day. Rest in peace.\u003c/p>\n\u003cp>\u003cem>—Amechi, Oakland\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>[contextly_sidebar id=”D0TuKgIAJbCpcve5sMimDYyEHtthocI4″]\u003c/p>\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>I’m sorry that you had to be the one to open people’s eyes to police brutality. I was six when you passed away. I didn’t understand what had happened because I was so young, but growing up in Oakland, I heard your story and analyzed it. Your death caused many people from our community great pain and concerns about safety. Your death also brought people together to teach and show others about the issues between people of color and the police.\u003c/p>\n\u003cp>I am afraid of the police. I am afraid of being pulled over for a stop-and-frisk due to my racial identity. I am afraid of walking too fast down the street and being followed. Nothing has changed since you passed away. Young black men are still being killed by police. Your story made headlines and still, nothing has changed.\u003c/p>\n\u003cp>We don’t need any more Trayvon Martins or Eric Garners. We need more people standing up—not only for us, but for those that have died at the hands of white police without justice.\u003c/p>\n\u003cp>\u003cem>—Paula Ortiz, student at Arise High School, Oakland\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>I didn’t know you personally, but we had mutual friends. For so many, your face was a picture of their son, a brother, someone’s father, a friend.\u003c/p>\n\u003cp>I’m not doing so good today, I’m struggling, actually. Every year on New Year’s Eve I remember where I was. I argued with my now ex-boyfriend, who didn’t want to go out because it wasn’t safe, because anything could happen. We went to bed early that night and woke up the next morning to the news of what would forever be recorded as the tragic last few moments of your life.\u003c/p>\n\u003cp>I’m struggling today because I’m alone, or more importantly I’m lonely; I go through bouts of crippling anxiety and depression that nobody knows about. I’m not suicidal, but I often evaluate my existence and wonder what I’m doing, where I’m going, and why I’m here. Today, for me, your life serves as a reminder: no matter how lonely or alone I feel, I’m alive. I’m alive and get to make the choice to live, a choice that you were not only denied but was forcibly taken from you.\u003c/p>\n\u003cp>I just want to thank you, Oscar Grant. Thank you for your contribution to society, to community, to culture, to life. Your impact on my life is a reason to get up today and live. I honestly can’t think of any more significant an impact, and for that I’m truly grateful.\u003c/p>\n\u003cp>Dear Oscar Grant, you may have saved my life.\u003c/p>\n\u003cp>\u003cem>—Anonymous, Pleasanton\u003c/em>\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",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>To commemorate the 10th anniversary of Oscar Grant’s death, KQED \u003ca href=\"https://www.kqed.org/arts/13847179/dear-oscar-grant\" target=\"_blank\" rel=\"noopener noreferrer\">asked\u003c/a> you to look back on Grant’s life and legacy. What would you say to Oscar Grant today? What changes have you seen in your community over the past decade? What hopes do you have for the future?\u003c/em>\u003c/p>\n\u003cp>The response was overwhelming. Here, we present a selection of your responses—the things you’d tell Oscar Grant if you had the chance. Read them below, and see the rest of our \u003ca href=\"https://www.kqed.org/arts/series/oscar-grant-10-years\" target=\"_blank\" rel=\"noopener noreferrer\">Oscar Grant 10 Years Later\u003c/a> coverage \u003ca href=\"https://www.kqed.org/arts/series/oscar-grant-10-years\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>My first job as a teenager was working with you and your cousin John in the meat market of Farmer Joe’s, our local grocery store. You were always quick to make a joke or flash a smile. Your enthusiasm helped pass countless hours at a job that wasn’t exactly glamorous. I’ll never forget the pit in my stomach I felt when I saw your face in that morning’s paper. Hoping you’re in a better place.\u003c/p>\n\u003cp>Take care O.\u003c/p>\n\u003cp>\u003cem>—Rafi Ronquillo, Oakland\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>I was a freshman in college, fresh off the euphoria of working to get Barack Obama elected. I remember contemplating taking time off school to organize, and being reminded that the work to create a more perfect, fair, and inclusive union is far from finished. Rest in power.\u003c/p>\n\u003cp>\u003cem>—Michael Tubbs, Mayor of Stockton\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>Brother, I was 18 years old and your murder was the firsthand experience my grandmother had always told me about. She used to tell me that as a black man I had to stay aware of my surroundings and be careful of the law. Growing up, I had been harassed by the police and thought it was just something they did to black and brown males routinely. Your murder opened my eyes and helped me realize it is possible I could be murdered by law officials with no type of accommodation or justice. Nothing can ever replace your life.\u003c/p>\n\u003cp>\u003cem>—Drakkar Noir, Berkeley\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>As I craft this message on a southbound BART train that’s pulling into West Oakland, there’s not a single trip through Fruitvale where I don’t remember your name. Leave it up to me, and that station would be renamed after you.\u003c/p>\n\u003cp>\u003cem>—Andrew, San Jose, CA\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>You know those days when everything moves in slow motion, and you notice each moment? I had one of those days at the grocery store once when you cut me some beautiful salmon at the deli. I remember you making the cuts and watching the pink of the fish. While I never knew you, I felt the loss of you, as one does when a community member is taken.\u003c/p>\n\u003cp>\u003cem>—Frances Fortini, San Francisco\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>We went to church together at Palma Ceia Baptist Church in Hayward. Although you were a few years older than me, we both grew up in that church. You and I even played on the basketball team sponsored by Palma Ceia; those were some of my most enjoyable times playing the game. I distinctly remember watching you play and lead the 13-15 team. I looked up to you on the court as somebody who went hard, respected his teammates, and played with a love for the game that was apparent.\u003c/p>\n\u003cp>It was these moments at Palma Ceia that made your unjust and untimely demise hard to take in. To see someone that I’ve shared experiences with get cut down in such a violent and indifferent manner let me know that it could happen to me—and anyone like me.\u003c/p>\n\u003cp>Oscar, you were a value in life and you are still a value. What happened to you galvanized the Town and black people around the nation. It ushered in a new era of resistance to state violence and drove home for a new generation the urgency of eradicating structural racism. I know this will never fill the hole left in your family’s heart, but you should know you did not die in vain.\u003c/p>\n\u003cp>Rest in Peace Brother.\u003c/p>\n\u003cp>\u003cem>—J. Turner, San Diego\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>They took you away just as you were bringing new life to yourself and your family. We fight for you in the hope that it never happens again.\u003c/p>\n\u003cp>\u003cem>—Semhar, California\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>I live five minutes away from where you died, and when I’m on the same BART platform, I ask myself: What happens to all of that potential and energy? What about the communal grief and rage? When precious life is squandered, how much light and life and love is lost, do we lose our own humanity?\u003c/p>\n\u003cp>Your death sparked protests, activists in the streets, and continued through the grief and criminal trial, because your life matters. You are loved, you are missed, you will never be forgotten.\u003c/p>\n\u003cp>Rest In Peace, Oscar Grant.\u003c/p>\n\u003cp>\u003cem>—Kristy Higares, Oakland\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>If I could tell you to stay home with your family, I would. If I could tell you to always watch out for your surroundings, I would. What I can’t tell you is that police brutality will end, because it won’t. What I can’t say is the color of your skin wasn’t your fault, because it was. This world has been so disgusting and I am sorry you had to get stuck in the middle of their stupidity and cowardliness.\u003c/p>\n\u003cp>Your family and friends stand by to keep you in our memories. Your life was worth more than to be taken away at a BART station for doing nothing. Your life was worth so much more than an object that those in a higher power feel they can control. You \u003cem>are\u003c/em> so much more, and your life and story will live on to show the oppression many of us people of color have to face.\u003c/p>\n\u003cp>\u003cem>—Jocelyn Alcala, student at Arise High School, Oakland\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>I want to tell you that you have one of the strongest mothers in the world. She nurtures other mothers and families that don’t know how to deal with losing their children and loved ones. She saves lives by witnessing and standing behind them in a time of need. She has started a basketball team, she gives scholarships, she does backpack drives, she travels on the regular to speak and hold seminars about violence. She has became an activist, and spokeswoman, and she is your voice.\u003c/p>\n\u003cp>One thing that I will say is that “I AM OSCAR GRANT.” Rest easy, baby boy. I never got a chance to meet you, but I know you. Forever Fruitvale Station.\u003c/p>\n\u003cp>\u003cem>—Lakisha Carmon, Stockton\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>It’s been 10 years. I went into labor that night. My daughter turns 10 on Jan. 2. I often ask myself: How was I bringing life into this world, when someone was stealing life from you?\u003c/p>\n\u003cp>You deserve to be here. I still drive down the streets of Oakland wondering who you would’ve become. The potential that left with you that night. The daughter who had to be told that daddy wasn’t coming home.\u003c/p>\n\u003cp>Your story is one that Oakland will never be able to hide. Oakland changed in a way we didn’t know was possible after your death. I want to say we grew stronger because of you. I want to say we see each other through different eyes because of you. I want to say that I’m sorry that your life ending had to be the thing to bring us closer together. What would Oakland look like through your eyes after these 10 years?\u003c/p>\n\u003cp>\u003cem>—Deema, Oakland\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>I first heard about you 10 years ago. I was only seven years old, but I still managed to understand the injustice that occurred to you. It’s something that horribly became common in our world, and it shouldn’t have.\u003c/p>\n\u003cp>You were a fellow member of our community in Oakland, a son, a father, an uncle, a friend, and so much in that day. Oscar Grant, you are someone that is greatly remembered, and you were able to open many people’s eyes. You opened my eyes. Don’t give up on us. Don’t give up on Oakland.\u003c/p>\n\u003cp>\u003cem>—Ariana Perfino, student at Arise High School, Oakland\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>In 2009, I was living in Los Angeles, where I was born and raised, and working for a nonprofit downtown. In 2009, I was trying to figure out what I wanted to do with my life, thinking about getting a law degree or a masters in public policy.\u003c/p>\n\u003cp>In 2009, your life was taken. I felt so much sadness and outrage when I learned about what had happened to you, and when I watched the video of how you were treated. I felt so helpless. When the trial was moved to Los Angeles, I went to the courthouse to protest police brutality. It was how my grief manifested. It didn’t feel good enough.\u003c/p>\n\u003cp>Shortly after, I decided to apply for grad school. I wanted to be in Oakland. I didn’t know much about the Bay Area, I’d never lived anywhere but LA. But seeing how the community came together to expose the systemic issues that led to that event made me want to be in the Bay, even if it was only for two years.\u003c/p>\n\u003cp>Now, eight years later, I’m still in Oakland. I try my best to be a champion of equity, to be a positive change in my community. For four years, I rode BART from Fruitvale into San Francisco for work. I thought about you often and still do.\u003c/p>\n\u003cp>I wish I could tell you that lots has changed since 2009, but I think the challenges have only gotten greater. I write this to you only to let you know that you had a huge impact on my life. I hope one day we’ll be able to say what happened to you would never happen in this day and age.\u003c/p>\n\u003cp>\u003cem>—Susan, Oakland\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>As an African American male myself, my grandmother used to always be afraid for me to go out on New Year’s Eve, the Fourth of July and other holidays. It used to always annoy me, and I remember when your tragic situation happened. It basically reaffirmed everything she was afraid of.\u003c/p>\n\u003cp>Every time I go by Fruitvale Station, I call it Grant Station in your honor.\u003c/p>\n\u003cp>Your life and your death taught me that you can die any day. What you do in life is not measured by how many years you live, it’s about the impact when you’re here. I feel bad, almost, for feeling bad for myself. The times when I’m down, the times when I’m sad, I think about those people who aren’t here today to live life, and I try to be appreciative of the fact of just living life.\u003c/p>\n\u003cp>I’m leaving this voicemail at 2:04am after a frustrating day, but I had to make a comment because life is fragile and the best way to handle it is by living it to the fullest every day. Rest in peace.\u003c/p>\n\u003cp>\u003cem>—Amechi, Oakland\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>I’m sorry that you had to be the one to open people’s eyes to police brutality. I was six when you passed away. I didn’t understand what had happened because I was so young, but growing up in Oakland, I heard your story and analyzed it. Your death caused many people from our community great pain and concerns about safety. Your death also brought people together to teach and show others about the issues between people of color and the police.\u003c/p>\n\u003cp>I am afraid of the police. I am afraid of being pulled over for a stop-and-frisk due to my racial identity. I am afraid of walking too fast down the street and being followed. Nothing has changed since you passed away. Young black men are still being killed by police. Your story made headlines and still, nothing has changed.\u003c/p>\n\u003cp>We don’t need any more Trayvon Martins or Eric Garners. We need more people standing up—not only for us, but for those that have died at the hands of white police without justice.\u003c/p>\n\u003cp>\u003cem>—Paula Ortiz, student at Arise High School, Oakland\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>I didn’t know you personally, but we had mutual friends. For so many, your face was a picture of their son, a brother, someone’s father, a friend.\u003c/p>\n\u003cp>I’m not doing so good today, I’m struggling, actually. Every year on New Year’s Eve I remember where I was. I argued with my now ex-boyfriend, who didn’t want to go out because it wasn’t safe, because anything could happen. We went to bed early that night and woke up the next morning to the news of what would forever be recorded as the tragic last few moments of your life.\u003c/p>\n\u003cp>I’m struggling today because I’m alone, or more importantly I’m lonely; I go through bouts of crippling anxiety and depression that nobody knows about. I’m not suicidal, but I often evaluate my existence and wonder what I’m doing, where I’m going, and why I’m here. Today, for me, your life serves as a reminder: no matter how lonely or alone I feel, I’m alive. I’m alive and get to make the choice to live, a choice that you were not only denied but was forcibly taken from you.\u003c/p>\n\u003cp>I just want to thank you, Oscar Grant. Thank you for your contribution to society, to community, to culture, to life. Your impact on my life is a reason to get up today and live. I honestly can’t think of any more significant an impact, and for that I’m truly grateful.\u003c/p>\n\u003cp>Dear Oscar Grant, you may have saved my life.\u003c/p>\n\u003cp>\u003cem>—Anonymous, Pleasanton\u003c/em>\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\u003c/div>\u003c/p>",
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"title": "What Are Those Strange Sounds in the Air at the New Berkeley BART Plaza?",
"headTitle": "What Are Those Strange Sounds in the Air at the New Berkeley BART Plaza? | KQED",
"content": "\u003cp>The first thing East Bay educator and composer Chris Brown noticed about the new plaza atop downtown Berkeley’s BART station wasn’t the incandescent globe sculpture or LED stage lights but the speakers: eight of them in weatherproof casing, each mounted on the top of a 21-foot pole. “They aren’t arranged in a circle or a square,” he said. “They’re facing inwards—so people will walk through a sound hallway.”\u003c/p>\n\u003cp>Brown is the first participant in a unique series of public sound art installations at the renovated transit plaza. He created an audio collage called \u003cem>Flow in Place\u003c/em> from hours of field recordings—snippets of parties, performances, and unplaceable din—collected on three continents over the past 25 years. Each of the piece’s 140 fragments sweeps from one end of the eight-channel speaker array to the other; during a test last week, the ebb and flow felt enveloping, even pleasantly disorienting.\u003c/p>\n\u003cp>“I’ve thought about the installation as being analogous to an aquarium, where fish swim back and forth,” Brown said. “I also hope to see some commuters skipping.”\u003c/p>\n\u003cp>The plaza, which will also feature a Michael Christian sculpture and performances programmed by Taylor Street Production, debuts with a celebration this Thursday, Oct. 18. \u003cem>Flow in Place\u003c/em>, the first of ten sound art commissions, will run 7am to 10pm for two months, followed by works from artists including Maggi Payne, Danny Clay, Edmund Campion and Jim McKee. Jennifer Lovvorn, the city’s new chief cultural affairs officer, said the speakers and plaza are meant to be a platform for experimental music in the Bay Area, and to join the Berkeley Art Museum, UC Theater, and incoming \u003ca href=\"https://www.cityofberkeley.info/City_Manager/Civic_Arts/Public_Art_Galleries.aspx\">Cube Space\u003c/a> in cementing downtown Berkeley as an arts and culture destination.\u003c/p>\n\u003cp>Sound is a relatively undeveloped field of public art, but there are precedents: In New York, the amplified hum of a tunnel junction emanates from beneath an unmarked grate in Max Neuhaus’ \u003cem>Times Square\u003c/em>. In San Francisco, Bill Fontana’s field recordings play from the side of the North Beach library branch in \u003cem>Sonic Dreamscape\u003c/em>. Still, to Lovvorn’s knowledge, there isn’t a permanent, eight-or-more-channel speaker system for revolving sound installations sponsored by another city in the United States.\u003c/p>\n\u003cfigure id=\"attachment_13843010\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843010\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/IMG_0236-800x533.jpg\" alt=\"BugID installed the sound system. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">BugID installed the sound system. \u003ccite>(Sam Lefebvre/KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Plaza renovation began years ago, and Lovvorn said it occurred to Berkeley civic arts commissioners to retrofit the light poles with speakers accommodating sound art in perpetuity. “Rather than just doing a permanent sculpture at the site, the commissioners chose to create a platform to present a sound series,” she said. The cost of the Meyer Sound speakers, custom installation and ongoing technical support by BugID and $4,000 stipends for commissioned artists is nearly $350,000. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Although some businesses use sound (particularly \u003ca href=\"http://latimesblogs.latimes.com/culturemonster/2011/04/classical-music-still-works-at-dispersing-loitering-teens-.html\">classical music\u003c/a>) to discourage loitering, Lovvorn strongly pushed back against concerns that the project is similarly motivated. “We hope it attracts people and encourages them to linger around the plaza,” she said. “It’ll actually be interesting to see if a culture arises around the speakers.”\u003c/p>\n\u003cp>At the plaza last week, Lovvorn and Brown were waiting for a BugID technician to arrive and dial in the decibel level of \u003cem>Flow in Place\u003c/em>. The piece is not “narrative,” Brown said, meaning it’s not meant for start-to-finish listening. He explained that he wants it to complement, not overpower, the area ambiance. “It should sound integrated into the environment, as if it’s being generated in real-time,” he said. Still, Brown also wanted to hear it cranked, at least once. So did Lovvorn. “It’s a construction site, we can be loud,” she said. “If anyone complains—it’s a sound check.”\u003c/p>\n\u003cfigure id=\"attachment_13843009\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843009\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/IMG_0235-800x533.jpg\" alt=\"Brown hopes to see some commuter skipping.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brown hopes to see some commuters skipping. \u003ccite>(Sam Lefebvre/KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown recounted how, in the early 1990s, he mail-ordered a set of binaural microphones, which record sound the way it strikes a pair of human ears, and flew to Cuba to learn conga drumming on a grant from Mills College. (This year, Brown and Payne agreed to \u003ca href=\"https://www.eastbayexpress.com/oakland/pantheon-of-me-by-berkeleys-spellling-is-the-most-striking-local-debut-this-year/Content?oid=7855644\">retire early\u003c/a> from co-directing the school’s Center for Contemporary Music in order to offset budget cuts to the department.) He clipped the mics to his sunglasses. “The recordings here at the beginning, we’d just stepped off the plane and were having lunch on a plaza,” he said. “I felt like I was wearing an audio camera.”\u003c/p>\n\u003cp>As Brown paced across the plaza, still enclosed by chain-link fence, \u003cem>Flow in Place\u003c/em> stirred one memory after another. “Now we’re in Bali,” he said, as the sound of pattering drums and voice mingled with engine noise from a bus passing on Shattuck Avenue. “This was recorded in the Marin Headlands, a performance in one of the old batteries.” He walked in circles, looking upwards. “There’s also some stuff from the tennis courts at UC Berkeley.”\u003c/p>\n\u003cp>Brown marveled at the speaker system, saying it’s comparable to something found at a college with an electronic music program. (Later that afternoon, Brown and the BugID technician blasted Neil Young for kicks.) For \u003cem>Flow in Place\u003c/em>, he created an algorithm to randomize the order of the segments, and the length of each sample determines how it spatializes, or moves from one end of the plaza to the other; a worker passing by at the same time every day will encounter something different. “I thought about what kind of sounds or textures won’t dominate the public space, but will interact with it,” Brown said. “You can’t expect an audience’s full attention.”\u003c/p>\n\u003cp>“The horse clopping, that was a trip,” Lovvorn said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Horse clopping?” Brown smiled, looking confused. “I don’t think that’s in there.”\u003c/p>\n\n",
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"excerpt": "Chris Brown’s globetrotting field recordings begin a series of public sound-art installations.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first thing East Bay educator and composer Chris Brown noticed about the new plaza atop downtown Berkeley’s BART station wasn’t the incandescent globe sculpture or LED stage lights but the speakers: eight of them in weatherproof casing, each mounted on the top of a 21-foot pole. “They aren’t arranged in a circle or a square,” he said. “They’re facing inwards—so people will walk through a sound hallway.”\u003c/p>\n\u003cp>Brown is the first participant in a unique series of public sound art installations at the renovated transit plaza. He created an audio collage called \u003cem>Flow in Place\u003c/em> from hours of field recordings—snippets of parties, performances, and unplaceable din—collected on three continents over the past 25 years. Each of the piece’s 140 fragments sweeps from one end of the eight-channel speaker array to the other; during a test last week, the ebb and flow felt enveloping, even pleasantly disorienting.\u003c/p>\n\u003cp>“I’ve thought about the installation as being analogous to an aquarium, where fish swim back and forth,” Brown said. “I also hope to see some commuters skipping.”\u003c/p>\n\u003cp>The plaza, which will also feature a Michael Christian sculpture and performances programmed by Taylor Street Production, debuts with a celebration this Thursday, Oct. 18. \u003cem>Flow in Place\u003c/em>, the first of ten sound art commissions, will run 7am to 10pm for two months, followed by works from artists including Maggi Payne, Danny Clay, Edmund Campion and Jim McKee. Jennifer Lovvorn, the city’s new chief cultural affairs officer, said the speakers and plaza are meant to be a platform for experimental music in the Bay Area, and to join the Berkeley Art Museum, UC Theater, and incoming \u003ca href=\"https://www.cityofberkeley.info/City_Manager/Civic_Arts/Public_Art_Galleries.aspx\">Cube Space\u003c/a> in cementing downtown Berkeley as an arts and culture destination.\u003c/p>\n\u003cp>Sound is a relatively undeveloped field of public art, but there are precedents: In New York, the amplified hum of a tunnel junction emanates from beneath an unmarked grate in Max Neuhaus’ \u003cem>Times Square\u003c/em>. In San Francisco, Bill Fontana’s field recordings play from the side of the North Beach library branch in \u003cem>Sonic Dreamscape\u003c/em>. Still, to Lovvorn’s knowledge, there isn’t a permanent, eight-or-more-channel speaker system for revolving sound installations sponsored by another city in the United States.\u003c/p>\n\u003cfigure id=\"attachment_13843010\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843010\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/IMG_0236-800x533.jpg\" alt=\"BugID installed the sound system. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">BugID installed the sound system. \u003ccite>(Sam Lefebvre/KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Plaza renovation began years ago, and Lovvorn said it occurred to Berkeley civic arts commissioners to retrofit the light poles with speakers accommodating sound art in perpetuity. “Rather than just doing a permanent sculpture at the site, the commissioners chose to create a platform to present a sound series,” she said. The cost of the Meyer Sound speakers, custom installation and ongoing technical support by BugID and $4,000 stipends for commissioned artists is nearly $350,000. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Although some businesses use sound (particularly \u003ca href=\"http://latimesblogs.latimes.com/culturemonster/2011/04/classical-music-still-works-at-dispersing-loitering-teens-.html\">classical music\u003c/a>) to discourage loitering, Lovvorn strongly pushed back against concerns that the project is similarly motivated. “We hope it attracts people and encourages them to linger around the plaza,” she said. “It’ll actually be interesting to see if a culture arises around the speakers.”\u003c/p>\n\u003cp>At the plaza last week, Lovvorn and Brown were waiting for a BugID technician to arrive and dial in the decibel level of \u003cem>Flow in Place\u003c/em>. The piece is not “narrative,” Brown said, meaning it’s not meant for start-to-finish listening. He explained that he wants it to complement, not overpower, the area ambiance. “It should sound integrated into the environment, as if it’s being generated in real-time,” he said. Still, Brown also wanted to hear it cranked, at least once. So did Lovvorn. “It’s a construction site, we can be loud,” she said. “If anyone complains—it’s a sound check.”\u003c/p>\n\u003cfigure id=\"attachment_13843009\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843009\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/IMG_0235-800x533.jpg\" alt=\"Brown hopes to see some commuter skipping.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brown hopes to see some commuters skipping. \u003ccite>(Sam Lefebvre/KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown recounted how, in the early 1990s, he mail-ordered a set of binaural microphones, which record sound the way it strikes a pair of human ears, and flew to Cuba to learn conga drumming on a grant from Mills College. (This year, Brown and Payne agreed to \u003ca href=\"https://www.eastbayexpress.com/oakland/pantheon-of-me-by-berkeleys-spellling-is-the-most-striking-local-debut-this-year/Content?oid=7855644\">retire early\u003c/a> from co-directing the school’s Center for Contemporary Music in order to offset budget cuts to the department.) He clipped the mics to his sunglasses. “The recordings here at the beginning, we’d just stepped off the plane and were having lunch on a plaza,” he said. “I felt like I was wearing an audio camera.”\u003c/p>\n\u003cp>As Brown paced across the plaza, still enclosed by chain-link fence, \u003cem>Flow in Place\u003c/em> stirred one memory after another. “Now we’re in Bali,” he said, as the sound of pattering drums and voice mingled with engine noise from a bus passing on Shattuck Avenue. “This was recorded in the Marin Headlands, a performance in one of the old batteries.” He walked in circles, looking upwards. “There’s also some stuff from the tennis courts at UC Berkeley.”\u003c/p>\n\u003cp>Brown marveled at the speaker system, saying it’s comparable to something found at a college with an electronic music program. (Later that afternoon, Brown and the BugID technician blasted Neil Young for kicks.) For \u003cem>Flow in Place\u003c/em>, he created an algorithm to randomize the order of the segments, and the length of each sample determines how it spatializes, or moves from one end of the plaza to the other; a worker passing by at the same time every day will encounter something different. “I thought about what kind of sounds or textures won’t dominate the public space, but will interact with it,” Brown said. “You can’t expect an audience’s full attention.”\u003c/p>\n\u003cp>“The horse clopping, that was a trip,” Lovvorn said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Horse clopping?” Brown smiled, looking confused. “I don’t think that’s in there.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "On Permanence: Barbara Shawcroft’s ‘Legs’ and the Challenges of Public Art",
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"headTitle": "On Permanence: Barbara Shawcroft’s ‘Legs’ and the Challenges of Public Art | KQED",
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"content": "\u003cp>Barbara Shawcroft’s \u003ci>Legs\u003c/i> (1975-1978) is a three-story-tall public sculpture, situated in the eastern end of Embarcadero BART/Muni station. It largely resembles masses of rope, but it is made from Nomex, a flame-resistant synthetic material developed by DuPont and used to create gear for firefighters. It was commissioned for permanent placement in the station at the behest of the original architects, Tallie Maule, Hertzka and Knowles Associates (Finland/U.S.), who required a budget for the installation and maintenance of two large sculptures at either end of the station as part of their design; Stephen De Staebler’s \u003ci>Wall Canyon\u003c/i> (1975-1977) is situated at the opposite end of the station. Both pieces won placement after an open competition. Despite initial arrangements, \u003ci>Legs\u003c/i> has only been cleaned twice in 35 years. Today it looms in the station like an abandoned monument and is strangely compelling despite its obvious neglect.\u003c/p>\n\u003cp>BART’s proposed 2014 Fiscal Budget suggests decommissioning the sculpture, with a potential budget of up to $300,000 dedicated to this legal and technical process. An initial public hearing was staged on May 23, 2013 to collect public input about the proposed budget as a whole; the total budget exceeds $1 billion and the proposal regarding \u003ci>Legs\u003c/i> is but one line item. A second public hearing is scheduled for June 13, 2013; the board will vote on the budget that evening.\u003c/p>\n\u003cp>Though the cost of cleaning the sculpture is substantially less than the cost of decommissioning it, the proposed budget presents removal as the only option. The impetus for decommissioning the sculpture is unclear. Why change anything now, after so many decades? Text from the budget proposal addresses the difficulty of maintaining the sculpture, while also acknowledging that limited efforts have been made to clean it over the years. Few would argue today that its placement makes sense: airborne soot is an issue in any train station — but it was designed and placed with this concern in mind. In conversation, Luna Salaver, a BART spokesperson, suggests that larger capacity concerns should be taken into consideration, but this is not stipulated in the proposal, nor is there any assertion of hazard.\u003c/p>\n\u003cp>On the surface, the debate about decommissioning the work seems to be rooted in aesthetic subjectivities, at a time when permanent public art is a receding cultural value. The public hearing on May 23 was filled with more than a hundred union employees waiting to address labor issues. It is easy to see how a sculpture becomes superfluous in the short term, but public works find value in longevity. Even the artworks that fall out of vogue — or never found it to begin with — are considered visual culture in the longer view of history.\u003c/p>\n\u003cfigure id=\"attachment_13957551\" class=\"wp-caption aligncenter\" style=\"max-width: 358px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2013/05/shawcroftlegs197578.jpg\" alt=\"\" width=\"358\" height=\"500\" class=\"size-full wp-image-13957551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2013/05/shawcroftlegs197578.jpg 358w, https://cdn.kqed.org/wp-content/uploads/sites/2/2013/05/shawcroftlegs197578-160x223.jpg 160w\" sizes=\"auto, (max-width: 358px) 100vw, 358px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Shawcroft, ‘Legs,’ 1975-1978; installation view, 1978. Courtesy of the artist. \u003ccite>(William Hocker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The issues at stake in decommissioning public art are complex, beyond the fact that the funds could benefit a substantial number of other creative initiatives. The proposed decommissioning also raises larger questions about the sustainability and permanence of public art in an evolving cityscape. When \u003ci>Legs\u003c/i> was commissioned, the station was brand new — today it services 11,000 passengers per hour during peak commute times. Increasingly public art is moving towards temporary gestures, often privately funded, to circumnavigate divided public opinion, bureaucracy, and dwindling arts funding — the recently launched \u003ci>Bay Lights\u003c/i> is a prime example.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>How the trend towards impermanence will affect cultural memory remains to be seen. Part of what we love about looking at and living in cities is the built environment and its layered histories. Temporary works enhance the built environment, but their destination status is limited, whereas permanent public works \u003ci>become\u003c/i> the landscape. For better or for worse, \u003ci>Legs\u003c/i> stands out among large-scale public works in San Francisco for its unique presence and public accessibility. It is also noteworthy that there are relatively few public works of this scale by women artists.\u003c/p>\n\u003cp>The built environment — architecture, monuments, and public sculptures — reflect the aesthetic values of the era. \u003ci>Legs\u003c/i> is no exception: it was developed out of the 1970s textiles and fiber arts movement, to the extent that it is often mistakenly referred to as “macramé,” a seventies icon if ever there was one. The original orange color, still vivid beneath the accumulated grime, is also reminiscent of its time. As such, it is easy to disregard the work as outmoded — but that is subjective. For everyone who thinks \u003ci>Legs\u003c/i> should be removed, there is another who would argue for it to be left in place. Opinions about what should happen to the sculpture are varied. No dominant opinion presents itself. In fair disclosure, I wrote about this scope of opinions about \u003ci>Legs\u003c/i> for \u003ci>Art Practical\u003c/i> in 2011. The diversity of opinions about the sculpture is, perhaps, one of its most compelling attributes.\u003c/p>\n\u003cp>In an interview for this article, art historian and curator Peter Selz, founding director of the Berkeley Art Museum and a member of the committee that commissioned \u003ci>Legs\u003c/i>, was emphatic in his response to the proposed decommissioning: “Seeing the old photo of how it originally appeared in its color, I feel strongly that \u003ci>Legs\u003c/i> should be thoroughly cleaned and well maintained. Certainly it should not be removed without the approval of the artist.”\u003c/p>\n\u003cfigure id=\"attachment_13957552\" class=\"wp-caption aligncenter\" style=\"max-width: 375px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2013/05/shawcroftlegs.jpg\" alt=\"\" width=\"375\" height=\"500\" class=\"size-full wp-image-13957552\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2013/05/shawcroftlegs.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2013/05/shawcroftlegs-160x213.jpg 160w\" sizes=\"auto, (max-width: 375px) 100vw, 375px\">\u003cfigcaption class=\"wp-caption-text\">A recent view of ‘Legs.’\u003c/figcaption>\u003c/figure>\n\u003cp>Others are inclined to suggest that the work be situated elsewhere given the unsuitable conditions of its surroundings. Patricia Maloney, director of Bay Area-based arts journal \u003ci>Art Practical\u003c/i> notes, “The commissioning bodies of this work of art (the BART Board and the City of San Francisco) have the obligation to keep the work intact and relocate it to a more suitable exhibition environment, where the proper conservation work can be undertaken and which efforts would have more lasting effects.” She goes on to suggest, “The BART Board may consider donating the work to one of the area’s collecting institutions, particularly those that are invested in the history of Bay Area art. The de Young Museum, the UC Berkeley Art Museum, and the Oakland Museum of California all come to mind as potential homes.” Further, she notes, the San Francisco Arts Commission should “take this work as a case study in public art maintenance, and review the current amount allocated for conservation for the Central Subway commissions.”\u003c/p>\n\u003cp>Shawcroft, now Professor Emeritus of Design in the Environmental Design Department at University of California, Davis, is surprised that BART would propose decommissioning the work without consulting with her. “Why wouldn’t they simply clean it for a fraction of the cost of what they are proposing,” she asked recently. Shawcroft also points out that the sculpture will be nearly impossible to remove — the rope alone weighs 8,000 pounds, plus it contains a stainless steel support structure bolted to the station’s foundation. “In the interest of a secure installation,” she said, “safety considerations were enacted nine times beyond what was necessary. It was designed to stay in place. Moving it will be more costly than BART might realize.”\u003c/p>\n\u003cp>Josh Faught, an artist and Assistant Professor of Textiles at California College of the Arts, sees the argument from both sides. “Although I can see the value of preserving the work, there’s another part of me that wishes the city [sic] would leave the piece as is. The capacity of textiles is one of witness. They have the remarkable ability to absorb the patina of history. Textiles are, by nature, ephemeral — so it makes more sense to allow \u003ci>Legs\u003c/i> to rot and blacken as a reflection of its experience.” As the work has hung in the station for nearly 35 years and has done just that, perhaps the best scenario would be to let history to takes its course.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>BART is hosting a public hearing to review its proposed budget on June 13, 2013; the decommissioning of \u003ci>Legs\u003c/i> is an item in the proposed budget. Interested parties may attend the public hearing or submit comments in writing to the BART Board, c/o Ken Duron, District Secretary, 300 Lakeside Drive, Oakland, CA 94612 or via email to \u003ca href=\"mailto:kduron@bart.gov\">kduron@bart.gov\u003c/a>.\u003c/em> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Barbara Shawcroft’s \u003ci>Legs\u003c/i> (1975-1978) is a three-story-tall public sculpture, situated in the eastern end of Embarcadero BART/Muni station. It largely resembles masses of rope, but it is made from Nomex, a flame-resistant synthetic material developed by DuPont and used to create gear for firefighters. It was commissioned for permanent placement in the station at the behest of the original architects, Tallie Maule, Hertzka and Knowles Associates (Finland/U.S.), who required a budget for the installation and maintenance of two large sculptures at either end of the station as part of their design; Stephen De Staebler’s \u003ci>Wall Canyon\u003c/i> (1975-1977) is situated at the opposite end of the station. Both pieces won placement after an open competition. Despite initial arrangements, \u003ci>Legs\u003c/i> has only been cleaned twice in 35 years. Today it looms in the station like an abandoned monument and is strangely compelling despite its obvious neglect.\u003c/p>\n\u003cp>BART’s proposed 2014 Fiscal Budget suggests decommissioning the sculpture, with a potential budget of up to $300,000 dedicated to this legal and technical process. An initial public hearing was staged on May 23, 2013 to collect public input about the proposed budget as a whole; the total budget exceeds $1 billion and the proposal regarding \u003ci>Legs\u003c/i> is but one line item. A second public hearing is scheduled for June 13, 2013; the board will vote on the budget that evening.\u003c/p>\n\u003cp>Though the cost of cleaning the sculpture is substantially less than the cost of decommissioning it, the proposed budget presents removal as the only option. The impetus for decommissioning the sculpture is unclear. Why change anything now, after so many decades? Text from the budget proposal addresses the difficulty of maintaining the sculpture, while also acknowledging that limited efforts have been made to clean it over the years. Few would argue today that its placement makes sense: airborne soot is an issue in any train station — but it was designed and placed with this concern in mind. In conversation, Luna Salaver, a BART spokesperson, suggests that larger capacity concerns should be taken into consideration, but this is not stipulated in the proposal, nor is there any assertion of hazard.\u003c/p>\n\u003cp>On the surface, the debate about decommissioning the work seems to be rooted in aesthetic subjectivities, at a time when permanent public art is a receding cultural value. The public hearing on May 23 was filled with more than a hundred union employees waiting to address labor issues. It is easy to see how a sculpture becomes superfluous in the short term, but public works find value in longevity. Even the artworks that fall out of vogue — or never found it to begin with — are considered visual culture in the longer view of history.\u003c/p>\n\u003cfigure id=\"attachment_13957551\" class=\"wp-caption aligncenter\" style=\"max-width: 358px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2013/05/shawcroftlegs197578.jpg\" alt=\"\" width=\"358\" height=\"500\" class=\"size-full wp-image-13957551\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2013/05/shawcroftlegs197578.jpg 358w, https://cdn.kqed.org/wp-content/uploads/sites/2/2013/05/shawcroftlegs197578-160x223.jpg 160w\" sizes=\"auto, (max-width: 358px) 100vw, 358px\">\u003cfigcaption class=\"wp-caption-text\">Barbara Shawcroft, ‘Legs,’ 1975-1978; installation view, 1978. Courtesy of the artist. \u003ccite>(William Hocker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The issues at stake in decommissioning public art are complex, beyond the fact that the funds could benefit a substantial number of other creative initiatives. The proposed decommissioning also raises larger questions about the sustainability and permanence of public art in an evolving cityscape. When \u003ci>Legs\u003c/i> was commissioned, the station was brand new — today it services 11,000 passengers per hour during peak commute times. Increasingly public art is moving towards temporary gestures, often privately funded, to circumnavigate divided public opinion, bureaucracy, and dwindling arts funding — the recently launched \u003ci>Bay Lights\u003c/i> is a prime example.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>How the trend towards impermanence will affect cultural memory remains to be seen. Part of what we love about looking at and living in cities is the built environment and its layered histories. Temporary works enhance the built environment, but their destination status is limited, whereas permanent public works \u003ci>become\u003c/i> the landscape. For better or for worse, \u003ci>Legs\u003c/i> stands out among large-scale public works in San Francisco for its unique presence and public accessibility. It is also noteworthy that there are relatively few public works of this scale by women artists.\u003c/p>\n\u003cp>The built environment — architecture, monuments, and public sculptures — reflect the aesthetic values of the era. \u003ci>Legs\u003c/i> is no exception: it was developed out of the 1970s textiles and fiber arts movement, to the extent that it is often mistakenly referred to as “macramé,” a seventies icon if ever there was one. The original orange color, still vivid beneath the accumulated grime, is also reminiscent of its time. As such, it is easy to disregard the work as outmoded — but that is subjective. For everyone who thinks \u003ci>Legs\u003c/i> should be removed, there is another who would argue for it to be left in place. Opinions about what should happen to the sculpture are varied. No dominant opinion presents itself. In fair disclosure, I wrote about this scope of opinions about \u003ci>Legs\u003c/i> for \u003ci>Art Practical\u003c/i> in 2011. The diversity of opinions about the sculpture is, perhaps, one of its most compelling attributes.\u003c/p>\n\u003cp>In an interview for this article, art historian and curator Peter Selz, founding director of the Berkeley Art Museum and a member of the committee that commissioned \u003ci>Legs\u003c/i>, was emphatic in his response to the proposed decommissioning: “Seeing the old photo of how it originally appeared in its color, I feel strongly that \u003ci>Legs\u003c/i> should be thoroughly cleaned and well maintained. Certainly it should not be removed without the approval of the artist.”\u003c/p>\n\u003cfigure id=\"attachment_13957552\" class=\"wp-caption aligncenter\" style=\"max-width: 375px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2013/05/shawcroftlegs.jpg\" alt=\"\" width=\"375\" height=\"500\" class=\"size-full wp-image-13957552\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2013/05/shawcroftlegs.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2013/05/shawcroftlegs-160x213.jpg 160w\" sizes=\"auto, (max-width: 375px) 100vw, 375px\">\u003cfigcaption class=\"wp-caption-text\">A recent view of ‘Legs.’\u003c/figcaption>\u003c/figure>\n\u003cp>Others are inclined to suggest that the work be situated elsewhere given the unsuitable conditions of its surroundings. Patricia Maloney, director of Bay Area-based arts journal \u003ci>Art Practical\u003c/i> notes, “The commissioning bodies of this work of art (the BART Board and the City of San Francisco) have the obligation to keep the work intact and relocate it to a more suitable exhibition environment, where the proper conservation work can be undertaken and which efforts would have more lasting effects.” She goes on to suggest, “The BART Board may consider donating the work to one of the area’s collecting institutions, particularly those that are invested in the history of Bay Area art. The de Young Museum, the UC Berkeley Art Museum, and the Oakland Museum of California all come to mind as potential homes.” Further, she notes, the San Francisco Arts Commission should “take this work as a case study in public art maintenance, and review the current amount allocated for conservation for the Central Subway commissions.”\u003c/p>\n\u003cp>Shawcroft, now Professor Emeritus of Design in the Environmental Design Department at University of California, Davis, is surprised that BART would propose decommissioning the work without consulting with her. “Why wouldn’t they simply clean it for a fraction of the cost of what they are proposing,” she asked recently. Shawcroft also points out that the sculpture will be nearly impossible to remove — the rope alone weighs 8,000 pounds, plus it contains a stainless steel support structure bolted to the station’s foundation. “In the interest of a secure installation,” she said, “safety considerations were enacted nine times beyond what was necessary. It was designed to stay in place. Moving it will be more costly than BART might realize.”\u003c/p>\n\u003cp>Josh Faught, an artist and Assistant Professor of Textiles at California College of the Arts, sees the argument from both sides. “Although I can see the value of preserving the work, there’s another part of me that wishes the city [sic] would leave the piece as is. The capacity of textiles is one of witness. They have the remarkable ability to absorb the patina of history. Textiles are, by nature, ephemeral — so it makes more sense to allow \u003ci>Legs\u003c/i> to rot and blacken as a reflection of its experience.” As the work has hung in the station for nearly 35 years and has done just that, perhaps the best scenario would be to let history to takes its course.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>BART is hosting a public hearing to review its proposed budget on June 13, 2013; the decommissioning of \u003ci>Legs\u003c/i> is an item in the proposed budget. Interested parties may attend the public hearing or submit comments in writing to the BART Board, c/o Ken Duron, District Secretary, 300 Lakeside Drive, Oakland, CA 94612 or via email to \u003ca href=\"mailto:kduron@bart.gov\">kduron@bart.gov\u003c/a>.\u003c/em> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"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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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
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