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"content": "\u003cp>High atop a scissor lift in Oakland, wheat-pasting a 25-foot wide upside-down American flag, Chip Thomas takes pride in his role as a provocateur. But put the 61-year-old photographer and street artist back on Native American land, where wounds both mortal and spiritual remain, and he earnestly resumes his other position: a healer.\u003c/p>\n\u003cp>By day, Thomas is a primary care physician at the Inscription House Health Clinic, located in the western part of the Navajo Nation, where he lives. In his free time, Thomas installs massive photo murals on and off the reservation, depicting his Navajo neighbors — from sheepherders to grandmothers.\u003c/p>\n\u003cp>“Especially on the reservation, the work is a conversation,” says Thomas. “I’m trying to help create an environment of wellness within the community.”\u003c/p>\n\u003cp>When Thomas moved to the Navajo Nation in 1987, he didn’t expect he’d be calling it home 30 years later. But he fell in love with the Four Corners region and its people, and began capturing those feelings in his photographs of everyday Navajo life. He also learned about the history of mineral extraction on the lands, from coal to uranium mining, and its staggering, fatal effect on Navajo workers — many of whom Thomas has cared for in the clinic.\u003c/p>\n\u003cp>Much later, while traveling in Brazil, Thomas saw photographs transformed into large-scale street art in the favelas of Rio. He realized his photographs could not only document the landscape, but become a part of the landscape as well.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now, \u003ca href=\"https://jetsonorama.net/\" target=\"_blank\" rel=\"noopener noreferrer\">working under the moniker Jetsonorama,\u003c/a> Thomas regularly celebrates the beauty of a people whose land has been mined and poisoned, cut up and sold off. Blowing up and wheat-pasting his black and white photos onto the sides of merchants’ stands, abandoned buildings, and mobile homes, Thomas creates work that allows community members to see themselves represented at monumental scales.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bringing those images outside of Navajo Nation — most recently, to a wall-sized installation in Oakland for last year’s \u003ca href=\"http://www.museumofcapitalism.org/exhibitions\" target=\"_blank\" rel=\"noopener noreferrer\">Museum of Capitalism\u003c/a> — and to \u003ca href=\"http://www.galeriadelaraza.org/eng/events/index.php?op=view&id=6489\" target=\"_blank\" rel=\"noopener noreferrer\">Galeria de la Raza’s digital mural\u003c/a> — helps disseminate knowledge of the people Thomas photographs, and their resilience, to the world at large. — \u003cem>Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>High atop a scissor lift in Oakland, wheat-pasting a 25-foot wide upside-down American flag, Chip Thomas takes pride in his role as a provocateur. But put the 61-year-old photographer and street artist back on Native American land, where wounds both mortal and spiritual remain, and he earnestly resumes his other position: a healer.\u003c/p>\n\u003cp>By day, Thomas is a primary care physician at the Inscription House Health Clinic, located in the western part of the Navajo Nation, where he lives. In his free time, Thomas installs massive photo murals on and off the reservation, depicting his Navajo neighbors — from sheepherders to grandmothers.\u003c/p>\n\u003cp>“Especially on the reservation, the work is a conversation,” says Thomas. “I’m trying to help create an environment of wellness within the community.”\u003c/p>\n\u003cp>When Thomas moved to the Navajo Nation in 1987, he didn’t expect he’d be calling it home 30 years later. But he fell in love with the Four Corners region and its people, and began capturing those feelings in his photographs of everyday Navajo life. He also learned about the history of mineral extraction on the lands, from coal to uranium mining, and its staggering, fatal effect on Navajo workers — many of whom Thomas has cared for in the clinic.\u003c/p>\n\u003cp>Much later, while traveling in Brazil, Thomas saw photographs transformed into large-scale street art in the favelas of Rio. He realized his photographs could not only document the landscape, but become a part of the landscape as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>When the third and fourth graders of Oakland’s Hoover Elementary School started creating superheroes to creatively address the problems in their community, they had no idea they would have to become their own heroes — and fight a battle against Caltrans.\u003c/p>\n\u003cp>\u003ca href=\"http://oaklandmuralproject.com/\" target=\"_blank\" rel=\"noopener\">The Oakland Super Heroes Project\u003c/a>, a classroom curriculum and mural series led by \u003ca href=\"http://www.ahc-oakland.org/\" target=\"_blank\" rel=\"noopener\">Attitudinal Healing Connection\u003c/a>, worked with Hoover students to invent themselves as superheroes. Fantastic Girl has water powers to stop floods and fires and to clean the community; Lava Girl and Lava Boy melt guns with their lava vision; Golden Boy has an electric force field to fight crime; and D-Bow Jalapeño uses magical cheese to transform the community.\u003c/p>\n\u003cp>Even though the Hoover students’ design would be the project’s fourth \u003ca href=\"https://ww2.kqed.org/arts/2016/06/08/spirit-of-fallen-artist-rises-in-oakland-super-heroes-mural-project/\" target=\"_blank\" rel=\"noopener\">superheroes mural on a wall under an Oakland freeway overpass\u003c/a>, Caltrans suddenly required the artists to sign over the copyright, halting progress on the mural.\u003c/p>\n\u003cp>Unwilling to back down, the project curriculum expanded to include poster-making, letter writing, and protest chants. What would normally take about a year — from concepts to designs to completion — became a two-and-a-half year crash course in taking on the California Department of Transportation.\u003c/p>\n\u003cp>“I learned I can do anything I put my mind to,” says student artist Daijon Kelly. “Nobody can stop me.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watch the now fifth and sixth graders of Hoover Elementary over the course of their unexpected journey to bring art and beauty into their community. – \u003cem>Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\n",
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"content": "\u003cp>A judge awarded $6.7 million Monday to graffiti artists who sued after dozens of spray paintings were destroyed on the walls of dilapidated warehouse buildings torn down to make room for high-rise luxury residences.\u003c/p>\n\u003cp>U.S. District Judge Frederic Block in Brooklyn said 45 of the 49 paintings were recognized works of art “wrongfully and willfully destroyed” by a remorseless landlord.\u003c/p>\n\u003cp>Twenty-one aerosol artists had sued the owner of a Long Island City, Queens, site known as 5Pointz under the Visual Rights Act, a 1990 federal law that protects artists’ rights even if someone else owns the physical artwork. Their graffiti was painted over in 2013, and the buildings were torn down a year later.\u003c/p>\n\u003cp>Before they vanished, the graffiti artworks became a tourist attraction, drawing thousands of spectators daily and forming a backdrop to the 2013 movie, “Now You See Me,” and a site for an Usher tour, the judge noted.\u003c/p>\n\u003cp>All the while, the crime-ridden neighborhood gradually improved and it became the “world’s largest collection of quality outdoor aerosol art,” though a system set up by the artists meant some paintings were temporary while others were given permanent status, Block wrote.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The ruling followed a three-week trial in November, when Block said the “respectful, articulate and credible” artists testified about “striking technical and artistic mastery and vision worthy of display in prominent museums if not on the walls of 5Pointz.”\u003c/p>\n\u003cp>He noted one artist came from London, another from rural West Virginia, while others were products of prestigious art schools. Some were self-taught.\u003c/p>\n\u003cp>He said he was impressed with the breadth of the artists’ works and how many works “spoke to the social issues of our times.”\u003c/p>\n\u003cp>Jerry Wolkoff, who owned the buildings, had conceded he allowed the spray-paint artists to use the buildings as a canvas for decades but said they always knew they would be torn down someday. His lawyer, David Ebert, did not immediately respond to a message seeking comment.\u003c/p>\n\u003cp>The artists had once hoped to buy the properties, before their value soared to over $200 million.\u003c/p>\n\u003cp>Block said he hoped the award would give teeth to a federal law that should have kept Wolkoff from demolishing them for at least 10 months, when he had all his permits.\u003cbr>\nArtists then could have easily rescued some paintings from siding, plywood or sheet-rock before the rollers, spray machines and buckets of white paint arrived.\u003c/p>\n\u003cp>“Wolkoff has been singularly unrepentant. He was given multiple opportunities to admit the whitewashing was a mistake, show remorse, or suggest he would do things differently if he had another chance,” Block said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Wolkoff could care less. As he callously testified,” the judge said. “The sloppy, half-hearted nature of the whitewashing left the works easily visible under thin layers of cheap, white paint, reminding the plaintiffs on a daily basis what had happened. The mutilated works were visible by millions of people on the passing 7 train.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The ruling followed a three-week trial in November, when Block said the “respectful, articulate and credible” artists testified about “striking technical and artistic mastery and vision worthy of display in prominent museums if not on the walls of 5Pointz.”\u003c/p>\n\u003cp>He noted one artist came from London, another from rural West Virginia, while others were products of prestigious art schools. Some were self-taught.\u003c/p>\n\u003cp>He said he was impressed with the breadth of the artists’ works and how many works “spoke to the social issues of our times.”\u003c/p>\n\u003cp>Jerry Wolkoff, who owned the buildings, had conceded he allowed the spray-paint artists to use the buildings as a canvas for decades but said they always knew they would be torn down someday. His lawyer, David Ebert, did not immediately respond to a message seeking comment.\u003c/p>\n\u003cp>The artists had once hoped to buy the properties, before their value soared to over $200 million.\u003c/p>\n\u003cp>Block said he hoped the award would give teeth to a federal law that should have kept Wolkoff from demolishing them for at least 10 months, when he had all his permits.\u003cbr>\nArtists then could have easily rescued some paintings from siding, plywood or sheet-rock before the rollers, spray machines and buckets of white paint arrived.\u003c/p>\n\u003cp>“Wolkoff has been singularly unrepentant. He was given multiple opportunities to admit the whitewashing was a mistake, show remorse, or suggest he would do things differently if he had another chance,” Block said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Wolkoff could care less. As he callously testified,” the judge said. “The sloppy, half-hearted nature of the whitewashing left the works easily visible under thin layers of cheap, white paint, reminding the plaintiffs on a daily basis what had happened. The mutilated works were visible by millions of people on the passing 7 train.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Want to Be Part of a Giant JR Mural in San Francisco? Here's How",
"headTitle": "Want to Be Part of a Giant JR Mural in San Francisco? Here’s How | KQED",
"content": "\u003cp>Photographer and street artist JR, known for his large-scale black-and-white images of ordinary people (and his exceedingly charming film with Agnés Varda, \u003ci>\u003ca href=\"https://ww2.kqed.org/arts/2017/10/27/faces-places-a-new-wave-filmmaker-and-a-mural-artist-tear-through-france/\" rel=\"noopener\" target=\"_blank\">Faces Places\u003c/a>\u003c/i>), recently arrived in San Francisco for a new project simply titled \u003ci>The San Francisco Mural\u003c/i>. Every day through Feb. 11, the project’s 53-foot truck will park in a different part of the city (sorry East, North and South Bay), photographing people inside a gigantic mobile studio. \u003c/p>\n\u003cp>Consult \u003ca href=\"http://www.thesanfranciscomural.net/\" rel=\"noopener\" target=\"_blank\">the project’s website\u003c/a> for a full schedule of all 24 locations, including stops in Civic Center, Bayview, the Mission and Western Addition.\u003c/p>\n\u003cp>https://www.google.com/maps/d/u/0/viewer?mid=1ND8qYIm_QSxJMiMbwRQx-6UwqhkFzYvH&ll=37.757080051858814%2C-122.44717965000001&z=13\u003c/p>\n\u003cp>This is the second chapter in a series the artist began last year in the Parisian suburb of Clichy-Montfermeil — a location familiar to the world as the place where two young men died by electrocution in 2005, setting off \u003ca href=\"https://en.wikipedia.org/wiki/2005_French_riots\" rel=\"noopener\" target=\"_blank\">three weeks of rioting throughout France\u003c/a>. Photographing residents of the healing yet still-isolated suburb against a green screen, JR created a composite image of 750 individuals that grants each subject the exact same treatment, regardless of governmental position or social class. \u003c/p>\n\u003cp>Identifying San Francisco as a city with both a long tradition of murals and incredible economic disparity, JR’s democratic form of image-making hopes to “capture the nuances of the city at this moment in time.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.instagram.com/p/BYto6YrjovS/?taken-by=jr\u003c/p>\n\u003cp>The artist has a knack for taking sites with complicated political, economic and social histories and turning the focus away from partisanship and toward those affected by it. \u003c/p>\n\u003cp>Last year, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/09/08/549491208/as-boy-peers-curiously-over-border-wall-his-artist-asks-what-is-he-thinking\" rel=\"noopener\" target=\"_blank\">JR mounted a timely installation\u003c/a> at the U.S./Mexico border with an enormous portrait of a one-year-old boy, playfully positioned to look as if he was peering over the border wall. The piece went up on scaffolding in Tecate, Mexico just days after the Trump administration announced its plans to end DACA. \u003c/p>\n\u003cp>In San Francisco, the mural project’s website makes special note of the high number of people experiencing homelessness here. Will JR succeed in fostering a productive conversation about the city’s most disenfranchised through portraiture? We’ll have to wait and see.\u003c/p>\n\u003cfigure id=\"attachment_13819446\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/JR_Cover-800x450.jpg\" alt=\"French photographer JR poses in front of his mural of the inhabitants of the Clichy-Montfermeil suburb.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13819446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">French photographer JR poses in front of his mural of the inhabitants of the Clichy-Montfermeil suburb. \u003ccite>(MARTIN BUREAU/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for where this monumental mural will eventually materialize, JR and team are still talking to various museums and organizations in San Francisco. But if you want to see your face among many, look for the giant truck with the eyes on its side in the neighborhood of your choice.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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>\u003ci>You can participate in ‘The San Francisco Mural’ through Feb. 11. For more information, \u003ca href=\"http://www.thesanfranciscomural.net/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Photographer and street artist JR, known for his large-scale black-and-white images of ordinary people (and his exceedingly charming film with Agnés Varda, \u003ci>\u003ca href=\"https://ww2.kqed.org/arts/2017/10/27/faces-places-a-new-wave-filmmaker-and-a-mural-artist-tear-through-france/\" rel=\"noopener\" target=\"_blank\">Faces Places\u003c/a>\u003c/i>), recently arrived in San Francisco for a new project simply titled \u003ci>The San Francisco Mural\u003c/i>. Every day through Feb. 11, the project’s 53-foot truck will park in a different part of the city (sorry East, North and South Bay), photographing people inside a gigantic mobile studio. \u003c/p>\n\u003cp>Consult \u003ca href=\"http://www.thesanfranciscomural.net/\" rel=\"noopener\" target=\"_blank\">the project’s website\u003c/a> for a full schedule of all 24 locations, including stops in Civic Center, Bayview, the Mission and Western Addition.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This is the second chapter in a series the artist began last year in the Parisian suburb of Clichy-Montfermeil — a location familiar to the world as the place where two young men died by electrocution in 2005, setting off \u003ca href=\"https://en.wikipedia.org/wiki/2005_French_riots\" rel=\"noopener\" target=\"_blank\">three weeks of rioting throughout France\u003c/a>. Photographing residents of the healing yet still-isolated suburb against a green screen, JR created a composite image of 750 individuals that grants each subject the exact same treatment, regardless of governmental position or social class. \u003c/p>\n\u003cp>Identifying San Francisco as a city with both a long tradition of murals and incredible economic disparity, JR’s democratic form of image-making hopes to “capture the nuances of the city at this moment in time.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The artist has a knack for taking sites with complicated political, economic and social histories and turning the focus away from partisanship and toward those affected by it. \u003c/p>\n\u003cp>Last year, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/09/08/549491208/as-boy-peers-curiously-over-border-wall-his-artist-asks-what-is-he-thinking\" rel=\"noopener\" target=\"_blank\">JR mounted a timely installation\u003c/a> at the U.S./Mexico border with an enormous portrait of a one-year-old boy, playfully positioned to look as if he was peering over the border wall. The piece went up on scaffolding in Tecate, Mexico just days after the Trump administration announced its plans to end DACA. \u003c/p>\n\u003cp>In San Francisco, the mural project’s website makes special note of the high number of people experiencing homelessness here. Will JR succeed in fostering a productive conversation about the city’s most disenfranchised through portraiture? We’ll have to wait and see.\u003c/p>\n\u003cfigure id=\"attachment_13819446\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/JR_Cover-800x450.jpg\" alt=\"French photographer JR poses in front of his mural of the inhabitants of the Clichy-Montfermeil suburb.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13819446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/JR_Cover-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">French photographer JR poses in front of his mural of the inhabitants of the Clichy-Montfermeil suburb. \u003ccite>(MARTIN BUREAU/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for where this monumental mural will eventually materialize, JR and team are still talking to various museums and organizations in San Francisco. But if you want to see your face among many, look for the giant truck with the eyes on its side in the neighborhood of your choice.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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>\u003ci>You can participate in ‘The San Francisco Mural’ through Feb. 11. For more information, \u003ca href=\"http://www.thesanfranciscomural.net/\" rel=\"noopener\" target=\"_blank\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Sign on Bernal Hill Questions Just Who is Allowed to Dream",
"headTitle": "Sign on Bernal Hill Questions Just Who is Allowed to Dream | KQED",
"content": "\u003cp>\u003ca href=\"http://anateresafernandez.com/\" target=\"_blank\" rel=\"noopener\">Ana Teresa Fernández\u003c/a>’ revelation came while driving on 280, as she exited the freeway.\u003c/p>\n\u003cp>Traveling between her home in the Excelsior and her studio at Hunters Point, she discovered the work of the late Oakland graffiti artist Mike “Dream” Francisco (and \u003ca href=\"https://youtu.be/cDp38sltic8\" target=\"_blank\" rel=\"noopener\">his TDK acolytes\u003c/a>) on a building by the side of the offramp. Over and over again, multicolored tags reading “DREAM” run along the building’s concrete block wall.\u003c/p>\n\u003cp>“It was such a beautiful piece, and such an incredible moment every time I drove past it,” Fernández says, “because it says what art can do best: create a sense of introspection and awareness within ourselves.”\u003c/p>\n\u003cfigure id=\"attachment_13812694\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812694\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200.jpg\" alt=\"Ana Teresa Fernández with part of 'Dream' in progress behind her.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ana Teresa Fernández with part of ‘Dream’ in progress behind her. \u003ccite>(Rebeka Rodriguez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not unlike Francisco, whose vital graffiti pieces spark joy and unity in places off the beaten path, Fernández creates art that disrupts our traditional idea of what exists on the fringes.\u003c/p>\n\u003cp>In her \u003ci>Borrando la Frontera (Erasing the Border)\u003c/i> series, she paints the metal posts imposed between the United States and Mexico to blend with their natural surroundings: a skyline in one, the ocean in another.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In this, she imagines the possibility of a utopia unfettered by the formation of boundaries, an allusion to the seminal works of Chicana feminist thinker \u003ca href=\"https://en.wikipedia.org/wiki/Gloria_E._Anzald%C3%BAa\" target=\"_blank\" rel=\"noopener\">Gloria Anzaldúa\u003c/a>.\u003c/p>\n\u003cp>For \u003ci>DREAM\u003c/i>, she says, she sought to create a hopeful vision for her neighborhood by transposing Francisco’s sentiment onto a larger space.\u003c/p>\n\u003cfigure id=\"attachment_13812701\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812701\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720.jpg\" alt=\"'Dream' installation in progress.\" width=\"1440\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-1180x590.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-960x480.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-520x260.jpg 520w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">‘Dream’ installation in progress. \u003ccite>(Gizmo Art Production/Ariya Bunyapamai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s murals here in Alemany Market, and the Dream murals, but there wasn’t a piece that spoke louder for the community, that was visible, that was for and about the community,” Fernández says.\u003c/p>\n\u003cp>She pitched her ideas to \u003ca href=\"https://ybca.org/dream-public-art\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center of the Arts\u003c/a> and San Francisco Public Works. First, she imagined the word “DREAM” atop the building, then — with encouragement from YBCA’s civic engagement manager Rebeka Rodriguez — atop the hill. That was three years ago.\u003c/p>\n\u003cp>Fernández partnered with Dr. Martin Luther King, Jr. Middle School for the ambitious project. As part of YBCA’s Youth in the City initiative, select middle schoolers were tasked with attaching the sculpture’s individual aluminum panels. They made regular visits to her studio, working intimately with Fernández to understand the process of creating art — from conception to final product.\u003c/p>\n\u003cfigure id=\"attachment_13812693\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812693\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Dream-Install_1200.jpg\" alt=\"'Dream' installation in progress.\" width=\"1200\" height=\"633\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-1180x622.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-960x506.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-520x274.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘DREAM’ installation in progress. \u003ccite>(Gizmo Art Production/Ariya Bunyapamai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The school implemented a yearlong artistic and academic curriculum on the concept of dreams. Students designed architectural mockups, made posters, and wrote songs and poems exploring what it means to dream.\u003c/p>\n\u003cp>Then came the election — and Donald Trump’s divisive, often exclusionary campaign promises came to life, which wasn’t lost on the students.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>For the artists involved in this project, kids and adults alike, dreams often give way to the unforgiving conditions of material reality. Fernández was evicted from her home. Trump’s DACA repeal was implemented mere weeks before San Francisco officials approved the installation of her \u003cem>DREAM\u003c/em> sign.\u003c/p>\n\u003cp>Those realities, and their accompanying uncertainty, hit close to the project’s home: According to data published by the San Francisco Unified School District, 95 percent of students at Dr. Martin Luther King, Jr. are students of color, 75 percent come from “socioeconomically disadvantaged” backgrounds, and 23 percent are categorized as English learners.\u003c/p>\n\u003cfigure id=\"attachment_13812837\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812837\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200.jpg\" alt=\"Students from Martin Luther King, Jr. Middle School perform "Big Dreams" at the public unveiling of 'Dream.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Students from Martin Luther King, Jr. Middle School perform “Big Dreams” at the public unveiling of ‘DREAM.’ \u003ccite>(Tommy Lau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The installation itself was originally envisioned as a beacon of hope for those who travel through and reside in the Excelsior neighborhood. Now, \u003ci>DREAM\u003c/i> has taken on a more vital undercurrent of urgency and resistance.\u003c/p>\n\u003cp>“It’s a real privilege to be able to use art and the creative process to make space for young people to be critical thinkers and to be able to dream about a future that is, for the most part, not really easily visible in our current climate,” says YBCA’s Rodriguez.\u003c/p>\n\u003cp>The term itself has gained a political currency with mixed implications. Certainly, it provides a unified rallying cry for proponents of DACA and other allies of undocumented immigrants – and yet the term dismisses others who fail to meet the exhaustive hurdles of the current American immigration process.\u003c/p>\n\u003cp>When I spoke to CultureStrike filmmaker and undocumented activist \u003ca href=\"http://www.culturestrike.org/staff/jes%C3%BAs-i%C3%B1iguez\" target=\"_blank\" rel=\"noopener\">Jesús Iñiguez\u003c/a> soon after Trump’s DACA repeal, he critiqued the failure of “viral” DREAMer narratives to capture the multiplicity of the experiences of undocumented immigrants. Their heroic stories elicit sympathy, he says, but fail to create a humanizing perspective that lifts up all undocumented immigrants.\u003c/p>\n\u003cp>“There’s a narrative. There are some ‘good’ immigrants and there are some ‘bad’ immigrants,” he says. “All you need to do is make one mistake, and then you get lumped in with the ‘bad’ immigrants.”\u003c/p>\n\u003cfigure id=\"attachment_13812838\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812838\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b.jpg\" alt=\"Students from Martin Luther King, Jr. Middle School perform "Big Dreams" at the public unveiling of 'Dream.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Students from Martin Luther King, Jr. Middle School perform “Big Dreams” at the public unveiling of ‘DREAM.’ \u003ccite>(Tommy Lau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But on the south side of Bernal Hill, \u003ci>DREAM\u003c/i> stands not for respectability, nor for exclusion. Rather, Fernández poses it as a question of access, of who is granted the ability to dream in this current political landscape, of who is permitted to exist in particular public spaces.\u003c/p>\n\u003cp>“With the travel ban, with who can serve in the military, with DACA and DREAMers, it becomes a question of who is allowed to dream,” Fernández says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>Dreams, by virtue of space and context and opportunity, are political. Mike “Dream” Francisco recognized this; every click of his aerosol can built community and solidarity through his singular graffiti art. His art was his activism.\u003c/p>\n\u003cp>Fernández’ \u003ci>DREAM\u003c/i> exists on a smaller scale, especially in comparison to her work that explicitly presents grander political possibilities.\u003c/p>\n\u003cp>The sign itself is a modest, unimposing thing. Even at its most visible vantage point — standing in the easternmost corner of the Alemany Market — it is overshadowed by a billboard hanging above it. (During the opening ceremony, the billboard advertised a developers’ conference sponsored by Samsung.)\u003c/p>\n\u003cp>It doesn’t speak loudly as much as it rings like a dull siren. Sunlight reflects onto the sculpture, reflecting onto the passerby. It is a quiet insistence of Fernández’ message not just to dream, but to reflect on these dreams.\u003c/p>\n\u003cp>With the accelerated pace of the world in 2017, \u003ci>DREAM\u003c/i> may not achieve the original vision Fernández set forth. But, now, in this political moment, the message taps into the same spirit of defiant, exuberant hope as Francisco’s graffiti. It’s an homage that befits the artist, and the community he believed in.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>For more information about Ana Teresa Fernández’ ‘DREAM,’ \u003ca href=\"https://ybca.org/dream-public-art\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Ana Teresa Fernández' Bernal Hill sculpture is both an invitation to the community and an homage to the hopeful art of Mike \"Dream\" Francisco.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://anateresafernandez.com/\" target=\"_blank\" rel=\"noopener\">Ana Teresa Fernández\u003c/a>’ revelation came while driving on 280, as she exited the freeway.\u003c/p>\n\u003cp>Traveling between her home in the Excelsior and her studio at Hunters Point, she discovered the work of the late Oakland graffiti artist Mike “Dream” Francisco (and \u003ca href=\"https://youtu.be/cDp38sltic8\" target=\"_blank\" rel=\"noopener\">his TDK acolytes\u003c/a>) on a building by the side of the offramp. Over and over again, multicolored tags reading “DREAM” run along the building’s concrete block wall.\u003c/p>\n\u003cp>“It was such a beautiful piece, and such an incredible moment every time I drove past it,” Fernández says, “because it says what art can do best: create a sense of introspection and awareness within ourselves.”\u003c/p>\n\u003cfigure id=\"attachment_13812694\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812694\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200.jpg\" alt=\"Ana Teresa Fernández with part of 'Dream' in progress behind her.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-credit-Rebeka-Rodriguez_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ana Teresa Fernández with part of ‘Dream’ in progress behind her. \u003ccite>(Rebeka Rodriguez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not unlike Francisco, whose vital graffiti pieces spark joy and unity in places off the beaten path, Fernández creates art that disrupts our traditional idea of what exists on the fringes.\u003c/p>\n\u003cp>In her \u003ci>Borrando la Frontera (Erasing the Border)\u003c/i> series, she paints the metal posts imposed between the United States and Mexico to blend with their natural surroundings: a skyline in one, the ocean in another.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In this, she imagines the possibility of a utopia unfettered by the formation of boundaries, an allusion to the seminal works of Chicana feminist thinker \u003ca href=\"https://en.wikipedia.org/wiki/Gloria_E._Anzald%C3%BAa\" target=\"_blank\" rel=\"noopener\">Gloria Anzaldúa\u003c/a>.\u003c/p>\n\u003cp>For \u003ci>DREAM\u003c/i>, she says, she sought to create a hopeful vision for her neighborhood by transposing Francisco’s sentiment onto a larger space.\u003c/p>\n\u003cfigure id=\"attachment_13812701\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812701\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720.jpg\" alt=\"'Dream' installation in progress.\" width=\"1440\" height=\"720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-1180x590.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-960x480.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/dream_publicart_hero_c_2400-1440x720-520x260.jpg 520w\" sizes=\"(max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">‘Dream’ installation in progress. \u003ccite>(Gizmo Art Production/Ariya Bunyapamai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s murals here in Alemany Market, and the Dream murals, but there wasn’t a piece that spoke louder for the community, that was visible, that was for and about the community,” Fernández says.\u003c/p>\n\u003cp>She pitched her ideas to \u003ca href=\"https://ybca.org/dream-public-art\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center of the Arts\u003c/a> and San Francisco Public Works. First, she imagined the word “DREAM” atop the building, then — with encouragement from YBCA’s civic engagement manager Rebeka Rodriguez — atop the hill. That was three years ago.\u003c/p>\n\u003cp>Fernández partnered with Dr. Martin Luther King, Jr. Middle School for the ambitious project. As part of YBCA’s Youth in the City initiative, select middle schoolers were tasked with attaching the sculpture’s individual aluminum panels. They made regular visits to her studio, working intimately with Fernández to understand the process of creating art — from conception to final product.\u003c/p>\n\u003cfigure id=\"attachment_13812693\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812693\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Dream-Install_1200.jpg\" alt=\"'Dream' installation in progress.\" width=\"1200\" height=\"633\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-1180x622.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-960x506.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Dream-Install_1200-520x274.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">‘DREAM’ installation in progress. \u003ccite>(Gizmo Art Production/Ariya Bunyapamai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The school implemented a yearlong artistic and academic curriculum on the concept of dreams. Students designed architectural mockups, made posters, and wrote songs and poems exploring what it means to dream.\u003c/p>\n\u003cp>Then came the election — and Donald Trump’s divisive, often exclusionary campaign promises came to life, which wasn’t lost on the students.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>For the artists involved in this project, kids and adults alike, dreams often give way to the unforgiving conditions of material reality. Fernández was evicted from her home. Trump’s DACA repeal was implemented mere weeks before San Francisco officials approved the installation of her \u003cem>DREAM\u003c/em> sign.\u003c/p>\n\u003cp>Those realities, and their accompanying uncertainty, hit close to the project’s home: According to data published by the San Francisco Unified School District, 95 percent of students at Dr. Martin Luther King, Jr. are students of color, 75 percent come from “socioeconomically disadvantaged” backgrounds, and 23 percent are categorized as English learners.\u003c/p>\n\u003cfigure id=\"attachment_13812837\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812837\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200.jpg\" alt=\"Students from Martin Luther King, Jr. Middle School perform "Big Dreams" at the public unveiling of 'Dream.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Students from Martin Luther King, Jr. Middle School perform “Big Dreams” at the public unveiling of ‘DREAM.’ \u003ccite>(Tommy Lau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The installation itself was originally envisioned as a beacon of hope for those who travel through and reside in the Excelsior neighborhood. Now, \u003ci>DREAM\u003c/i> has taken on a more vital undercurrent of urgency and resistance.\u003c/p>\n\u003cp>“It’s a real privilege to be able to use art and the creative process to make space for young people to be critical thinkers and to be able to dream about a future that is, for the most part, not really easily visible in our current climate,” says YBCA’s Rodriguez.\u003c/p>\n\u003cp>The term itself has gained a political currency with mixed implications. Certainly, it provides a unified rallying cry for proponents of DACA and other allies of undocumented immigrants – and yet the term dismisses others who fail to meet the exhaustive hurdles of the current American immigration process.\u003c/p>\n\u003cp>When I spoke to CultureStrike filmmaker and undocumented activist \u003ca href=\"http://www.culturestrike.org/staff/jes%C3%BAs-i%C3%B1iguez\" target=\"_blank\" rel=\"noopener\">Jesús Iñiguez\u003c/a> soon after Trump’s DACA repeal, he critiqued the failure of “viral” DREAMer narratives to capture the multiplicity of the experiences of undocumented immigrants. Their heroic stories elicit sympathy, he says, but fail to create a humanizing perspective that lifts up all undocumented immigrants.\u003c/p>\n\u003cp>“There’s a narrative. There are some ‘good’ immigrants and there are some ‘bad’ immigrants,” he says. “All you need to do is make one mistake, and then you get lumped in with the ‘bad’ immigrants.”\u003c/p>\n\u003cfigure id=\"attachment_13812838\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13812838\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b.jpg\" alt=\"Students from Martin Luther King, Jr. Middle School perform "Big Dreams" at the public unveiling of 'Dream.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/092217_DREAM_byTommyLau_1200b-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Students from Martin Luther King, Jr. Middle School perform “Big Dreams” at the public unveiling of ‘DREAM.’ \u003ccite>(Tommy Lau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But on the south side of Bernal Hill, \u003ci>DREAM\u003c/i> stands not for respectability, nor for exclusion. Rather, Fernández poses it as a question of access, of who is granted the ability to dream in this current political landscape, of who is permitted to exist in particular public spaces.\u003c/p>\n\u003cp>“With the travel ban, with who can serve in the military, with DACA and DREAMers, it becomes a question of who is allowed to dream,” Fernández says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>Dreams, by virtue of space and context and opportunity, are political. Mike “Dream” Francisco recognized this; every click of his aerosol can built community and solidarity through his singular graffiti art. His art was his activism.\u003c/p>\n\u003cp>Fernández’ \u003ci>DREAM\u003c/i> exists on a smaller scale, especially in comparison to her work that explicitly presents grander political possibilities.\u003c/p>\n\u003cp>The sign itself is a modest, unimposing thing. Even at its most visible vantage point — standing in the easternmost corner of the Alemany Market — it is overshadowed by a billboard hanging above it. (During the opening ceremony, the billboard advertised a developers’ conference sponsored by Samsung.)\u003c/p>\n\u003cp>It doesn’t speak loudly as much as it rings like a dull siren. Sunlight reflects onto the sculpture, reflecting onto the passerby. It is a quiet insistence of Fernández’ message not just to dream, but to reflect on these dreams.\u003c/p>\n\u003cp>With the accelerated pace of the world in 2017, \u003ci>DREAM\u003c/i> may not achieve the original vision Fernández set forth. But, now, in this political moment, the message taps into the same spirit of defiant, exuberant hope as Francisco’s graffiti. It’s an homage that befits the artist, and the community he believed in.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>For more information about Ana Teresa Fernández’ ‘DREAM,’ \u003ca href=\"https://ybca.org/dream-public-art\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Dream But Don't Sleep: Remembering Mike 'Dream' Francisco",
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"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\">T\u003c/span>he first time \u003ca href=\"http://ogtoldme.tumblr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Pendarvis Harshaw\u003c/a> ever cruised through the 23rd St. train yard in Oakland, he was just a kid from the Dubbs riding his bike with friends around the neighborhood. “And we had no idea that that was \u003cem>the\u003c/em> legendary 23rd St. yard,” Harshaw tells me of the famed graffiti spot. “We’d hang out in that area all the time, but we never knew the magnitude of it.”\u003c/p>\n\u003cp>That magnitude is the subject of \u003ca href=\"https://www.youtube.com/watch?v=cDp38sltic8\" rel=\"noopener noreferrer\" target=\"_blank\">Harshaw’s documentary \u003cem>The Dream Kontinues\u003c/em>\u003c/a>, a short film about late Bay Area graffiti pioneer Mike “Dream” Francisco, who was shot in an attempted robbery in 2000. The king of the train yard in the ’80s and ’90s, Dream’s influence presides over the spot, which today still serves as a hub of Bay Area graffiti writers.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cDp38sltic8\u003c/p>\n\u003cp>A scholar of graffiti history, a creative stylist with an aerosol can, a Filipino embraced by the black community and a mentor to dozens, Dream is an icon of East Oakland. Tribute events honoring his influence are held annually. His remaining murals are strictly off-limits to tagging and throw-ups by other graffiti writers. And finally, with Harshaw’s film, the result of a thesis at UC Berkeley, a documentary collects archival footage of Dream with current-day interviews with those from his TDK crew.\u003c/p>\n\u003cp>The tragedy of Dream’s death is underscored by the maturation of his outlook over time. His artwork became more political and community-minded in nature. He taught young aspiring upstarts line and shadow skills at his tattoo shop. He even changed the meaning of the acronym “TDK,” which initially stood for “Those Damn Kids” due to the crew’s hooliganism, to “Tax Dollars Kill,” and then, “Teach Dem Kulture.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even Harshaw says he was surprised at the depth of Dream’s story.\u003c/p>\n\u003cp>“When I started, I thought I was gonna tell a story that bumped up against how police couldn’t control certain aspects of graffiti, or how there’s no art in schools,” Harshaw says. “I ended up having a documentary that really questions, ‘What is art?’ That’s an urban philosophical debate, of sorts, but with Dream and TDK, their story, there’s so many layers of it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n",
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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\">T\u003c/span>he first time \u003ca href=\"http://ogtoldme.tumblr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Pendarvis Harshaw\u003c/a> ever cruised through the 23rd St. train yard in Oakland, he was just a kid from the Dubbs riding his bike with friends around the neighborhood. “And we had no idea that that was \u003cem>the\u003c/em> legendary 23rd St. yard,” Harshaw tells me of the famed graffiti spot. “We’d hang out in that area all the time, but we never knew the magnitude of it.”\u003c/p>\n\u003cp>That magnitude is the subject of \u003ca href=\"https://www.youtube.com/watch?v=cDp38sltic8\" rel=\"noopener noreferrer\" target=\"_blank\">Harshaw’s documentary \u003cem>The Dream Kontinues\u003c/em>\u003c/a>, a short film about late Bay Area graffiti pioneer Mike “Dream” Francisco, who was shot in an attempted robbery in 2000. The king of the train yard in the ’80s and ’90s, Dream’s influence presides over the spot, which today still serves as a hub of Bay Area graffiti writers.\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/cDp38sltic8'\n title='//www.youtube.com/embed/cDp38sltic8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A scholar of graffiti history, a creative stylist with an aerosol can, a Filipino embraced by the black community and a mentor to dozens, Dream is an icon of East Oakland. Tribute events honoring his influence are held annually. His remaining murals are strictly off-limits to tagging and throw-ups by other graffiti writers. And finally, with Harshaw’s film, the result of a thesis at UC Berkeley, a documentary collects archival footage of Dream with current-day interviews with those from his TDK crew.\u003c/p>\n\u003cp>The tragedy of Dream’s death is underscored by the maturation of his outlook over time. His artwork became more political and community-minded in nature. He taught young aspiring upstarts line and shadow skills at his tattoo shop. He even changed the meaning of the acronym “TDK,” which initially stood for “Those Damn Kids” due to the crew’s hooliganism, to “Tax Dollars Kill,” and then, “Teach Dem Kulture.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/news/series/baycurious",
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"source": "kqed",
"order": 3
},
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}
},
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"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"source": "kqed",
"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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},
"link": "/radio/program/code-switch-life-kit",
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
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