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"content": "\u003cp>Iranian-Canadian artist \u003ca href=\"https://shirinfahimi.com/work\" rel=\"noopener noreferrer\" target=\"_blank\">Shirin Fahimi\u003c/a>, scheduled to perform on Friday at San Francisco’s CounterPulse, was denied entry to the United States on Tuesday. Her two-person performance with \u003ca href=\"http://www.morehshin.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Morehshin Allahyari\u003c/a> will continue, says co-presenting arts nonprofit Southern Exposure, as “a resilient, unbending adaptation of the original piece.”\u003c/p>\n\u003cp>Fahimi was scheduled to take a direct flight from Toronto to San Francisco when she was stopped by Toronto-based U.S. border officials, questioned and not allowed to board her flight. Fahimi, who was born in Iran, is a Canadian citizen and carries a Canadian passport. Canadian citizens do not require visas to visit the U.S. and Fahimi has traveled here many times since 2018 without issue, a \u003ca href=\"https://soex.org/news/2020/02/06/important-update-breaching-towards-other-futures\" rel=\"noopener noreferrer\" target=\"_blank\">joint announcement\u003c/a> from Counterpulse and Southern Exposure explained. \u003c/p>\n\u003cp>Her performance with New York-based Allahyari, titled \u003ci>\u003ca href=\"https://counterpulse.org/event/breaching-towards-futures/\" rel=\"noopener noreferrer\" target=\"_blank\">Breaching Towards Other Futures\u003c/a>\u003c/i>, sources material from Middle Eastern mythology and is staged in conjunction with Southern Exposure’s ongoing exhibition \u003ci>\u003ca href=\"https://soex.org/projects-exhibitions/where-do-you-want-ghosts-reside\" rel=\"noopener noreferrer\" target=\"_blank\">Where do you want ghosts to reside?\u003c/a>\u003c/i> \u003c/p>\n\u003cp>Fahimi posted about the events on social media, writing, “Sharing this experience in case someone else has a similar situation.” She detailed the process of going through passport check and getting called into a security room filled with monitors showing her own image. During questioning by a U.S. official, Fahimi says she was asked if she is Muslim, why she immigrated to Canada, if she was happy with the Iranian government and why her husband’s family name is so long. \u003c/p>\n\u003cp>“Have you ever been asked what is your religion when crossing the border?” she wrote on Instagram. “Have you ever needed to explain your spiritual existence for your trip to the U.S.?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Local arts organizations have noted a rise in both the \u003ca href=\"https://www.kqed.org/arts/13859794/trumps-extreme-vetting-hurts-the-arts-discourages-cultural-exchange-experts-say\" rel=\"noopener noreferrer\" target=\"_blank\">delay and denial of artist visas\u003c/a> in recent years, coinciding with President Trump’s policy of “extreme vetting,” but Fahimi’s situation is different—no paperwork is necessary for Canadian citizens to travel to the United States. Yet, \u003ca href=\"https://www.cnn.com/2020/01/30/politics/memo-border-officers-iran-soleimani/index.html\" rel=\"noopener noreferrer\" target=\"_blank\">an internal memo\u003c/a> recently obtained by CNN suggests that Customs and Border Protection (CBP) officers working in Canadian ports of entry were directed to detain and question travelers of Iranian descent in early January, following the death of Iranian Maj. Gen. Qassem Soleimani.[aside postID='arts_13874154,arts_13873186,arts_13859794' label='Related Coverage']\u003c/p>\n\u003cp>Brittney Rezaei, an immigrants’ rights attorney for the \u003ca href=\"https://www.cair.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Council on American-Islamic Relations\u003c/a>, explains there is an exemption in President Trump’s travel ban that applies to dual citizens like Fahimi, but that CBP has a lot of discretion and authority to decide if a person can enter the country. “The policies of CBP and ICE are effecting more and more people,” she says, including students and artists.\u003c/p>\n\u003cp>“Once denied, it is generally harder for a person to come into the U.S. the next time,” Rezaei says. Experiences like Fahimi’s make people afraid to travel, she notes. “It makes them feel like there’s something wrong with who they are. It silences the sharing of information, especially the exchange of art and culture.” \u003c/p>\n\u003cp>“Part of what’s so hard is that we don’t know what happened,” says Margaret McCarthy, Southern Exposure’s executive director and co-director. “We don’t know what to do differently next time. We’re certainly not interested in becoming more conservative or timid in the artists we work with or that the curatorial council invites to participate.” \u003ci>Where do you want ghosts to reside?\u003c/i> and \u003ci>Breaching Towards Other Futures\u003c/i> were curated by artists Azin Seraj and Zulfikar Ali Bhutto.\u003c/p>\n\u003cp>In the announcement, Southern Exposure and CounterPulse took a firm stance on the U.S. government’s policies regarding Iran and its citizens. “What we do know is that the work that the current White House administration is doing to disrupt lives and dismantle communities is fundamentally unjust and borne of generations of structural bias and hatred,” the statement reads.\u003c/p>\n\u003cp>“This is a traumatic experience, I think, for Shirin to go through this kind of questioning and for both artists to face this kind of obstacle in creating their work,” says Valerie Imus, Southern Exposure’s artistic director and co-director. “But they’re both incredibly strong and thoughtful people and have forged ahead and have created a brand new variation on this piece that responds to this moment.”\u003c/p>\n\u003cp>Fahimi and Allahyari are working to create a new version of their performance, which will take place tonight at CounterPulse, as scheduled. Fahimi will Skype in live to participate. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As Imus says, “They are doing the simple and radical act of continuing to make art at this moment.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Brittney Rezaei, an immigrants’ rights attorney for the \u003ca href=\"https://www.cair.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Council on American-Islamic Relations\u003c/a>, explains there is an exemption in President Trump’s travel ban that applies to dual citizens like Fahimi, but that CBP has a lot of discretion and authority to decide if a person can enter the country. “The policies of CBP and ICE are effecting more and more people,” she says, including students and artists.\u003c/p>\n\u003cp>“Once denied, it is generally harder for a person to come into the U.S. the next time,” Rezaei says. Experiences like Fahimi’s make people afraid to travel, she notes. “It makes them feel like there’s something wrong with who they are. It silences the sharing of information, especially the exchange of art and culture.” \u003c/p>\n\u003cp>“Part of what’s so hard is that we don’t know what happened,” says Margaret McCarthy, Southern Exposure’s executive director and co-director. “We don’t know what to do differently next time. We’re certainly not interested in becoming more conservative or timid in the artists we work with or that the curatorial council invites to participate.” \u003ci>Where do you want ghosts to reside?\u003c/i> and \u003ci>Breaching Towards Other Futures\u003c/i> were curated by artists Azin Seraj and Zulfikar Ali Bhutto.\u003c/p>\n\u003cp>In the announcement, Southern Exposure and CounterPulse took a firm stance on the U.S. government’s policies regarding Iran and its citizens. “What we do know is that the work that the current White House administration is doing to disrupt lives and dismantle communities is fundamentally unjust and borne of generations of structural bias and hatred,” the statement reads.\u003c/p>\n\u003cp>“This is a traumatic experience, I think, for Shirin to go through this kind of questioning and for both artists to face this kind of obstacle in creating their work,” says Valerie Imus, Southern Exposure’s artistic director and co-director. “But they’re both incredibly strong and thoughtful people and have forged ahead and have created a brand new variation on this piece that responds to this moment.”\u003c/p>\n\u003cp>Fahimi and Allahyari are working to create a new version of their performance, which will take place tonight at CounterPulse, as scheduled. Fahimi will Skype in live to participate. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As Imus says, “They are doing the simple and radical act of continuing to make art at this moment.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Like many Russian immigrants who came to the Bay Area in the 1990s, my childhood was full of weekly pilgrimages to San Francisco’s Richmond District. On Sundays, my family and I would get dressed up to attend Russian Orthodox church on Geary Street, buy olivier salad and pickled cabbage by the pound at \u003ca href=\"https://www.newworldmarketsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">New World Market\u003c/a> and take in the aromas of pirozhki and other baked goods at \u003ca href=\"http://cinderellabakery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cinderella Bakery\u003c/a>.\u003c/p>\n\u003cp>With bellies full, we’d stroll down Balboa Street to \u003ca href=\"https://www.globusbooks.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Globus Books\u003c/a>, the Russian bookstore that feels like a time capsule, with its Persian rugs, towering shelves of dusty tomes and a distinctive old-library scent. As a child, I delighted in Soviet-era picture books like \u003cem>Dyadya Fyodor\u003c/em>, about a precocious boy who runs away from home to live with a dog and cat. In my teen years, I explored intimidating stacks of classics by Dostoevsky and Bulgakov, and art books from the Hermitage Museum of my native Saint Petersburg. And in my early twenties, I tripped out on Victor Pelevin’s drug-addled, darkly funny Gen X novel \u003cem>Generation P \u003c/em>(the P standing for \u003cem>pizdetz\u003c/em>, or screwed).\u003c/p>\n\u003cp>Globus, opened in 1971, has remarkably stood the test of time, serving several generations of Russian immigrants, including those who came as Jewish refugees during the ’70s and ’80s, and the rest that followed after the collapse of the Soviet Union in 1991.\u003c/p>\n\u003cp>Yet as the Richmond District changes, and as the Russian community gets priced out along with other immigrant populations in San Francisco, the decidedly niche business has found itself in need of switching up its approach as it enters a new decade, hoping to preserve its older generation of customers while attracting younger readers and non-Russian speakers.\u003c/p>\n\u003cfigure id=\"attachment_13873164\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873164\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/IMG_4241-800x533.jpg\" alt=\"Globus Books has been a cornerstone of the Bay Area's Russian community since 1971.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_4241-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_4241-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_4241-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_4241-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_4241-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_4241.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Globus Books has been a cornerstone of the Bay Area’s Russian community since 1971. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For new owner Pavel Chepyzhov and managers Julie Kulyamzina and Zarina Zabrisky, that means embracing the diversity of the Bay Area’s Russian-speaking community, as well as people curious about Russian culture and literature.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“On one side you have Russian speakers who came from China after the second world war, and they are very different from the Russian speakers who are immigrating right now to Silicon Valley,” Chepyzhov offers, adding that Georgian and Armenian cultures also occupy a prominent place within the Bay Area’s Russian-speaking world. “They have a lot of books in common and Globus could be the place where they all could meet.”\u003c/span>\u003c/p>\n\u003cp>Books about Russian feminism and LGBTQ+ people have also recently made their way onto Globus’ shelves. And the store now has a growing English-language section on Russia and the former Soviet Union. (On my last visit, I picked up Lydia B. Zaverukha and Nina Bogdan’s visually stunning \u003cem>Russian San Francisco\u003c/em>, full of historical photos dating back to 1840.) One of the goals, Chepyzhov says, is to spread awareness about the culture beyond what Americans hear in the news.\u003c/p>\n\u003cp>“Unfortunately the Russian politics, of course, doesn’t get the best media for obvious reasons,” he says. “But I think talking about books and about culture—this is what we want to promote, this is what is appreciated in the U.S.”\u003c/p>\n\u003cp>Zabrisky, a writer known for her work with progressive activist group the Arts Resistance, is in charge of new event programming for the space, including author talks, readings and screenings coming later in the year. The first new event series is story time for toddlers, happening every Wednesday at 10:30am starting Feb. 5. It fulfills a core part of Globus’ mission to help Russian-speaking parents pass on their language and culture to the next generation.\u003c/p>\n\u003cp>“We’re in love with this bookstore, with its history, its accomplishments and what it is for the Russian community here,” says Kulyamzina.\u003c/p>\n\u003cp>She and Chepyzhov, both from Moscow, are antiquarian book specialists who spent the last several years frequenting Globus during trips to book fairs on the West Coast. Globus founder Vladimir Azar originally ran a publishing house focused on Russian immigrant authors, earning the shop a cult following among Russian-speaking bibliophiles around the world.\u003c/p>\n\u003cp>https://www.instagram.com/p/B5gdLgCpxse/\u003c/p>\n\u003cp>Last year, Chepyzhov learned that former owner Veronica Ahrens-Pulawski, who presided over Globus’ shelves since the early ’80s, was looking to retire and sell the business.\u003c/p>\n\u003cp>“It took me maybe 10 minutes to draft a plan in my head of how we could work together on that and try to keep Globus alive, and try to keep this business going,” he says, adding that Ahrens-Pulawski—whose dynamic personality has long been a draw for Globus’ loyal customer base—still helps out twice a week.\u003c/p>\n\u003cp>The new Globus team’s progressive vision is a rarity for the Russian-speaking immigrant community in the United States, which leans conservative; older generations who escaped communist rule have an aversion to anything that sounds remotely socialist. If San Francisco’s Russian newspaper \u003cem>Kstati\u003c/em> (full of right-wing op-eds written in the key of “well actually”) is any indication, it’s likely that many of San Francisco’s Russian-speaking immigrants voted in the 2016 election along similar lines to those in New York’s Brighton Beach, the biggest \u003ca href=\"https://www.brickunderground.com/live/how-did-your-neighborhood-vote\" target=\"_blank\" rel=\"noopener noreferrer\">patch of red\u003c/a> in mostly blue Brooklyn.\u003c/p>\n\u003cp>Yet Chepyzhov says there’s more than enough room for diverse voices and perspectives at Globus. “It’s one of our goals to show the alternative side of things,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13873175\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873175\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/IMG_4204-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_4204-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_4204-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_4204-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_4204-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_4204-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_4204.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Globus managers Julie Kulyamzina (left) and Zarina Zabrisky (right). \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He points to portions of the Russian-speaking immigrant community that are rarely mentioned in the media—such as queer and trans asylum seekers escaping anti-gay laws. Reports of \u003ca href=\"https://time.com/5633588/anti-gay-purge-chechnya-victim/\" target=\"_blank\" rel=\"noopener noreferrer\">anti-gay purges\u003c/a> came out of Chechnya as recently as last year, prompting international protests in solidarity. And in the Russian Federation, a 2013 law banning “gay propaganda” diminished LGBTQ+ people’s civil rights protections while legitimizing already-rampant homophobia within the culture.\u003c/p>\n\u003cp>“We try to do our bit supporting LGBT causes here and in Russia,” says Chepyzhov. “We would like to represent these people as well.”\u003c/p>\n\u003cp>Chepyzhov still lives in Moscow and comes to San Francisco to run the store for months at a time throughout the year. While he was away the last few months, Zabrisky and Kulyamzina gave Globus’ shelves a makeover. Books by neo-fascist Russian political strategist Aleksandr Dugin, for instance, have gone into storage, while a biography of Barack Obama and a history of change-making women in Russian history are now prominently on display.\u003c/p>\n\u003cp>“We don’t want to be censors, but we don’t want to promote views that are harmful to society,” says Zabrisky.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“We don’t want to scare away the customers who’ve been coming in for decades, we still have books for them,” says Kulyamzina. “But we also want to attract a new generation.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Like many Russian immigrants who came to the Bay Area in the 1990s, my childhood was full of weekly pilgrimages to San Francisco’s Richmond District. On Sundays, my family and I would get dressed up to attend Russian Orthodox church on Geary Street, buy olivier salad and pickled cabbage by the pound at \u003ca href=\"https://www.newworldmarketsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">New World Market\u003c/a> and take in the aromas of pirozhki and other baked goods at \u003ca href=\"http://cinderellabakery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cinderella Bakery\u003c/a>.\u003c/p>\n\u003cp>With bellies full, we’d stroll down Balboa Street to \u003ca href=\"https://www.globusbooks.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Globus Books\u003c/a>, the Russian bookstore that feels like a time capsule, with its Persian rugs, towering shelves of dusty tomes and a distinctive old-library scent. As a child, I delighted in Soviet-era picture books like \u003cem>Dyadya Fyodor\u003c/em>, about a precocious boy who runs away from home to live with a dog and cat. In my teen years, I explored intimidating stacks of classics by Dostoevsky and Bulgakov, and art books from the Hermitage Museum of my native Saint Petersburg. And in my early twenties, I tripped out on Victor Pelevin’s drug-addled, darkly funny Gen X novel \u003cem>Generation P \u003c/em>(the P standing for \u003cem>pizdetz\u003c/em>, or screwed).\u003c/p>\n\u003cp>Globus, opened in 1971, has remarkably stood the test of time, serving several generations of Russian immigrants, including those who came as Jewish refugees during the ’70s and ’80s, and the rest that followed after the collapse of the Soviet Union in 1991.\u003c/p>\n\u003cp>Yet as the Richmond District changes, and as the Russian community gets priced out along with other immigrant populations in San Francisco, the decidedly niche business has found itself in need of switching up its approach as it enters a new decade, hoping to preserve its older generation of customers while attracting younger readers and non-Russian speakers.\u003c/p>\n\u003cfigure id=\"attachment_13873164\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873164\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/IMG_4241-800x533.jpg\" alt=\"Globus Books has been a cornerstone of the Bay Area's Russian community since 1971.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_4241-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_4241-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_4241-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_4241-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_4241-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_4241.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Globus Books has been a cornerstone of the Bay Area’s Russian community since 1971. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For new owner Pavel Chepyzhov and managers Julie Kulyamzina and Zarina Zabrisky, that means embracing the diversity of the Bay Area’s Russian-speaking community, as well as people curious about Russian culture and literature.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“On one side you have Russian speakers who came from China after the second world war, and they are very different from the Russian speakers who are immigrating right now to Silicon Valley,” Chepyzhov offers, adding that Georgian and Armenian cultures also occupy a prominent place within the Bay Area’s Russian-speaking world. “They have a lot of books in common and Globus could be the place where they all could meet.”\u003c/span>\u003c/p>\n\u003cp>Books about Russian feminism and LGBTQ+ people have also recently made their way onto Globus’ shelves. And the store now has a growing English-language section on Russia and the former Soviet Union. (On my last visit, I picked up Lydia B. Zaverukha and Nina Bogdan’s visually stunning \u003cem>Russian San Francisco\u003c/em>, full of historical photos dating back to 1840.) One of the goals, Chepyzhov says, is to spread awareness about the culture beyond what Americans hear in the news.\u003c/p>\n\u003cp>“Unfortunately the Russian politics, of course, doesn’t get the best media for obvious reasons,” he says. “But I think talking about books and about culture—this is what we want to promote, this is what is appreciated in the U.S.”\u003c/p>\n\u003cp>Zabrisky, a writer known for her work with progressive activist group the Arts Resistance, is in charge of new event programming for the space, including author talks, readings and screenings coming later in the year. The first new event series is story time for toddlers, happening every Wednesday at 10:30am starting Feb. 5. It fulfills a core part of Globus’ mission to help Russian-speaking parents pass on their language and culture to the next generation.\u003c/p>\n\u003cp>“We’re in love with this bookstore, with its history, its accomplishments and what it is for the Russian community here,” says Kulyamzina.\u003c/p>\n\u003cp>She and Chepyzhov, both from Moscow, are antiquarian book specialists who spent the last several years frequenting Globus during trips to book fairs on the West Coast. Globus founder Vladimir Azar originally ran a publishing house focused on Russian immigrant authors, earning the shop a cult following among Russian-speaking bibliophiles around the world.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last year, Chepyzhov learned that former owner Veronica Ahrens-Pulawski, who presided over Globus’ shelves since the early ’80s, was looking to retire and sell the business.\u003c/p>\n\u003cp>“It took me maybe 10 minutes to draft a plan in my head of how we could work together on that and try to keep Globus alive, and try to keep this business going,” he says, adding that Ahrens-Pulawski—whose dynamic personality has long been a draw for Globus’ loyal customer base—still helps out twice a week.\u003c/p>\n\u003cp>The new Globus team’s progressive vision is a rarity for the Russian-speaking immigrant community in the United States, which leans conservative; older generations who escaped communist rule have an aversion to anything that sounds remotely socialist. If San Francisco’s Russian newspaper \u003cem>Kstati\u003c/em> (full of right-wing op-eds written in the key of “well actually”) is any indication, it’s likely that many of San Francisco’s Russian-speaking immigrants voted in the 2016 election along similar lines to those in New York’s Brighton Beach, the biggest \u003ca href=\"https://www.brickunderground.com/live/how-did-your-neighborhood-vote\" target=\"_blank\" rel=\"noopener noreferrer\">patch of red\u003c/a> in mostly blue Brooklyn.\u003c/p>\n\u003cp>Yet Chepyzhov says there’s more than enough room for diverse voices and perspectives at Globus. “It’s one of our goals to show the alternative side of things,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13873175\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873175\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/IMG_4204-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_4204-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_4204-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_4204-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_4204-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_4204-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/IMG_4204.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Globus managers Julie Kulyamzina (left) and Zarina Zabrisky (right). \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He points to portions of the Russian-speaking immigrant community that are rarely mentioned in the media—such as queer and trans asylum seekers escaping anti-gay laws. Reports of \u003ca href=\"https://time.com/5633588/anti-gay-purge-chechnya-victim/\" target=\"_blank\" rel=\"noopener noreferrer\">anti-gay purges\u003c/a> came out of Chechnya as recently as last year, prompting international protests in solidarity. And in the Russian Federation, a 2013 law banning “gay propaganda” diminished LGBTQ+ people’s civil rights protections while legitimizing already-rampant homophobia within the culture.\u003c/p>\n\u003cp>“We try to do our bit supporting LGBT causes here and in Russia,” says Chepyzhov. “We would like to represent these people as well.”\u003c/p>\n\u003cp>Chepyzhov still lives in Moscow and comes to San Francisco to run the store for months at a time throughout the year. While he was away the last few months, Zabrisky and Kulyamzina gave Globus’ shelves a makeover. Books by neo-fascist Russian political strategist Aleksandr Dugin, for instance, have gone into storage, while a biography of Barack Obama and a history of change-making women in Russian history are now prominently on display.\u003c/p>\n\u003cp>“We don’t want to be censors, but we don’t want to promote views that are harmful to society,” says Zabrisky.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Barely before this month’s New Year’s revelry had quieted, news of the extrajudicial killing of Iran’s Qasem Soleimani by U.S. airstrike dominated the news cycle, and the Middle East was thrust one more into unwelcome focus. And even though the immediate crisis of escalation and threat of war seems to have been brought under some control, there’s no doubt that the reverberations of that action will resonate for years to come: in Iran, Iraq, and worldwide.\u003c/p>\n\u003cp>It’s reverberations such as these that two plays opening this month in the Bay Area are already intricately familiar with. Both \u003cem>Noura\u003c/em>, by Heather Raffo, at Marin Theatre Company, and \u003cem>Mimi’s Suitcase\u003c/em>, by Ana Bayat, at NOH Space, deal explicitly with the long-term effects of immigration on ordinary citizens from the Middle East. Beyond describing reasons to leave, both \u003cem>Noura \u003c/em>and \u003cem>Mimi’s Suitcase\u003c/em> delve into what it means to survive the process of re-routing, and re-rooting, as immigrants, women, and artists.\u003c/p>\n\u003cfigure id=\"attachment_13873142\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873142\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Noura_cast_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_cast_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_cast_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_cast_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_cast_credit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_cast_credit_KevinBerne-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_cast_credit_KevinBerne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_cast_credit_KevinBerne.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of Marin Theatre Company’s production of ‘Noura,’ by Heather Raffo. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Noura\u003c/em>, which opened in previews on Jan. 9, explores the Iraqi-American experience through a quotidian, domestic lens. With a hat-tip to Ibsen’s \u003cem>A Doll’s House\u003c/em>, the play takes place over the Christmas holiday, revolving around an Iraqi refugee family who has just received American citizenship after eight years of waiting. Members of a displaced Christian minority, they’ve settled in New York (where playwright Heather Raffo also lives). As the play progresses, as do the complexities of their relationship to each other, to their selves, and to their adopted home.\u003c/p>\n\u003cp>Having performed the role of Noura in the play’s world premiere in 2018, Raffo’s understanding of the character extends beyond the lived experience of growing up with an Iraqi parent. By birthing the role as well as the play, she’s in a unique position of being able to explore Noura’s philosophical layers with a keen familiarity. Through the character, she’s been able to wrestle with her own struggles with the “rugged individualism…of Western American feminism,” and speak to a yearning to use female liberation as a platform for more than self-actualization. Her Noura, an architect, not only juggles the imperative to create with the demands of the domestic, but also the eternal inner conflict of reconciling with a turbulent, dangerous past.\u003c/p>\n\u003cfigure id=\"attachment_13873144\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873144\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Noura_DenmoIbrahim_ValentinoBertolucciHererra_credit_KevinBerne-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_DenmoIbrahim_ValentinoBertolucciHererra_credit_KevinBerne-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_DenmoIbrahim_ValentinoBertolucciHererra_credit_KevinBerne-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_DenmoIbrahim_ValentinoBertolucciHererra_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_DenmoIbrahim_ValentinoBertolucciHererra_credit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Denmo Ibrahim and Valentino Bertolucci Herrera in Marin Theatre Company’s production of ‘Noura,’ by Heather Raffo. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I really wanted to reframe the play (\u003cem>A Doll’s House\u003c/em>) in what does it mean to be actually \u003cem>very\u003c/em> attached?” she explains over the phone. “The question I’m facing in my life isn’t ‘I will just up and leave my family so I can live my life as a full human being’….I can’t do that…most of us wouldn’t want to do that. In this play they are \u003cem>all\u003c/em> Nora Helmer, all post-door slam, all living together, going these are the different ways they’ve chosen to move on, and now what?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Not only is Ana Bayat’s solo show \u003cem>Mimi’s Suitcase\u003c/em> a bit of a travelogue, but it’s also well-traveled, having first launched at New York’s United Solo, and following up with appearances at festivals across Europe—including the 70th edition of the Edinburgh Fringe. In the play we first encounter the protagonist as a teenage girl living in Tehran. With shades of Marjane Satrapi’s \u003cem>Persepolis\u003c/em>, Bayat describes the tension and violence of a suppressive state, and its psychological effects on a young woman who’d previously lived in the much more permissive Barcelona.\u003c/p>\n\u003cfigure id=\"attachment_13873143\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873143\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/MimisSuitcase-AnaBayat-PhotoCredit-Diaspora_Arts_Connection-800x530.jpg\" alt=\"\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/MimisSuitcase-AnaBayat-PhotoCredit-Diaspora_Arts_Connection-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/MimisSuitcase-AnaBayat-PhotoCredit-Diaspora_Arts_Connection-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/MimisSuitcase-AnaBayat-PhotoCredit-Diaspora_Arts_Connection-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/MimisSuitcase-AnaBayat-PhotoCredit-Diaspora_Arts_Connection.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ana Bayat in her solo show, ‘Mimi’s Suitcase.’ \u003ccite>(Diaspora Arts Connection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a solo performer, Bayat plays over 25 characters in four languages, including family members, close friends, Republican guards, and immigration officers. Although the action focuses on the time period from 1984 to 2000, as Bayat ruefully notes, the topics of immigration and diaspora that she explores are “very much present in our everyday lives.”\u003c/p>\n\u003cp>With repercussions of 2017’s so-called “Muslim travel ban” still reverberating worldwide, the protagonist’s struggle to obtain a precious student visa feels as urgent as it must have in 2007, when Bayat first began working on the piece as part of W. Kamau Bell’s notable Solo Performance Workshop. And her lived experience as a child trapped within the borders of a repressive regime gives a singular view into a family that has run out of choices. Her protagonist’s decision to leave Iran emphasizes the divergence of choice between those who can obtain a visa and those who cannot. Or as Bayat elegantly puts it, “sometimes what you choose is not necessarily what you can have.”\u003c/p>\n\u003cp>“Political upheaval is not theoretical,” Torange Yeghiazarian of Golden Thread Productions, who is consulting on \u003cem>Noura\u003c/em>, points out. And the undercurrent of the very real dangers faced by their respective protagonists in their home countries gives \u003cem>Noura\u003c/em> and \u003cem>Mimi’s Suitcase\u003c/em> a vital kinship. But beyond the Middle Eastern diaspora stories illuminated by \u003cem>Noura\u003c/em> and \u003cem>Mimi’s Suitcase\u003c/em> are larger themes of immigration, family, and home, with broad, cross-cultural implications. In both works we find protagonists who love their families, value themselves, and mourn for their lost opportunities and former homelands, while laying claim to their future—all in the context of an immigration narrative.\u003c/p>\n\u003cp>“Ultimately I believe this is a universal story,” asserts Bayat about \u003cem>Mimi’s Suitcase\u003c/em>. “I’m hoping it humanizes immigrants so we don’t go about life othering. That we realize that at the end of the day…that we have so much in common.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Noura’ has been extended at Marin Theatre Company through Feb. 9. Details \u003ca href=\"http://www.marintheatre.org/productions/noura\">here.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Mimi’s Suitcase’ plays at NOHspace, Jan. 23-25. Tickets and info \u003ca href=\"http://www.anabayat.com/mimissuitcase\">here.\u003c/a>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Barely before this month’s New Year’s revelry had quieted, news of the extrajudicial killing of Iran’s Qasem Soleimani by U.S. airstrike dominated the news cycle, and the Middle East was thrust one more into unwelcome focus. And even though the immediate crisis of escalation and threat of war seems to have been brought under some control, there’s no doubt that the reverberations of that action will resonate for years to come: in Iran, Iraq, and worldwide.\u003c/p>\n\u003cp>It’s reverberations such as these that two plays opening this month in the Bay Area are already intricately familiar with. Both \u003cem>Noura\u003c/em>, by Heather Raffo, at Marin Theatre Company, and \u003cem>Mimi’s Suitcase\u003c/em>, by Ana Bayat, at NOH Space, deal explicitly with the long-term effects of immigration on ordinary citizens from the Middle East. Beyond describing reasons to leave, both \u003cem>Noura \u003c/em>and \u003cem>Mimi’s Suitcase\u003c/em> delve into what it means to survive the process of re-routing, and re-rooting, as immigrants, women, and artists.\u003c/p>\n\u003cfigure id=\"attachment_13873142\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873142\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Noura_cast_credit_KevinBerne-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_cast_credit_KevinBerne-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_cast_credit_KevinBerne-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_cast_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_cast_credit_KevinBerne-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_cast_credit_KevinBerne-1200x799.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_cast_credit_KevinBerne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_cast_credit_KevinBerne.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of Marin Theatre Company’s production of ‘Noura,’ by Heather Raffo. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Noura\u003c/em>, which opened in previews on Jan. 9, explores the Iraqi-American experience through a quotidian, domestic lens. With a hat-tip to Ibsen’s \u003cem>A Doll’s House\u003c/em>, the play takes place over the Christmas holiday, revolving around an Iraqi refugee family who has just received American citizenship after eight years of waiting. Members of a displaced Christian minority, they’ve settled in New York (where playwright Heather Raffo also lives). As the play progresses, as do the complexities of their relationship to each other, to their selves, and to their adopted home.\u003c/p>\n\u003cp>Having performed the role of Noura in the play’s world premiere in 2018, Raffo’s understanding of the character extends beyond the lived experience of growing up with an Iraqi parent. By birthing the role as well as the play, she’s in a unique position of being able to explore Noura’s philosophical layers with a keen familiarity. Through the character, she’s been able to wrestle with her own struggles with the “rugged individualism…of Western American feminism,” and speak to a yearning to use female liberation as a platform for more than self-actualization. Her Noura, an architect, not only juggles the imperative to create with the demands of the domestic, but also the eternal inner conflict of reconciling with a turbulent, dangerous past.\u003c/p>\n\u003cfigure id=\"attachment_13873144\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873144\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Noura_DenmoIbrahim_ValentinoBertolucciHererra_credit_KevinBerne-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_DenmoIbrahim_ValentinoBertolucciHererra_credit_KevinBerne-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_DenmoIbrahim_ValentinoBertolucciHererra_credit_KevinBerne-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_DenmoIbrahim_ValentinoBertolucciHererra_credit_KevinBerne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Noura_DenmoIbrahim_ValentinoBertolucciHererra_credit_KevinBerne.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Denmo Ibrahim and Valentino Bertolucci Herrera in Marin Theatre Company’s production of ‘Noura,’ by Heather Raffo. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I really wanted to reframe the play (\u003cem>A Doll’s House\u003c/em>) in what does it mean to be actually \u003cem>very\u003c/em> attached?” she explains over the phone. “The question I’m facing in my life isn’t ‘I will just up and leave my family so I can live my life as a full human being’….I can’t do that…most of us wouldn’t want to do that. In this play they are \u003cem>all\u003c/em> Nora Helmer, all post-door slam, all living together, going these are the different ways they’ve chosen to move on, and now what?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Not only is Ana Bayat’s solo show \u003cem>Mimi’s Suitcase\u003c/em> a bit of a travelogue, but it’s also well-traveled, having first launched at New York’s United Solo, and following up with appearances at festivals across Europe—including the 70th edition of the Edinburgh Fringe. In the play we first encounter the protagonist as a teenage girl living in Tehran. With shades of Marjane Satrapi’s \u003cem>Persepolis\u003c/em>, Bayat describes the tension and violence of a suppressive state, and its psychological effects on a young woman who’d previously lived in the much more permissive Barcelona.\u003c/p>\n\u003cfigure id=\"attachment_13873143\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873143\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/MimisSuitcase-AnaBayat-PhotoCredit-Diaspora_Arts_Connection-800x530.jpg\" alt=\"\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/MimisSuitcase-AnaBayat-PhotoCredit-Diaspora_Arts_Connection-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/MimisSuitcase-AnaBayat-PhotoCredit-Diaspora_Arts_Connection-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/MimisSuitcase-AnaBayat-PhotoCredit-Diaspora_Arts_Connection-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/MimisSuitcase-AnaBayat-PhotoCredit-Diaspora_Arts_Connection.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ana Bayat in her solo show, ‘Mimi’s Suitcase.’ \u003ccite>(Diaspora Arts Connection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a solo performer, Bayat plays over 25 characters in four languages, including family members, close friends, Republican guards, and immigration officers. Although the action focuses on the time period from 1984 to 2000, as Bayat ruefully notes, the topics of immigration and diaspora that she explores are “very much present in our everyday lives.”\u003c/p>\n\u003cp>With repercussions of 2017’s so-called “Muslim travel ban” still reverberating worldwide, the protagonist’s struggle to obtain a precious student visa feels as urgent as it must have in 2007, when Bayat first began working on the piece as part of W. Kamau Bell’s notable Solo Performance Workshop. And her lived experience as a child trapped within the borders of a repressive regime gives a singular view into a family that has run out of choices. Her protagonist’s decision to leave Iran emphasizes the divergence of choice between those who can obtain a visa and those who cannot. Or as Bayat elegantly puts it, “sometimes what you choose is not necessarily what you can have.”\u003c/p>\n\u003cp>“Political upheaval is not theoretical,” Torange Yeghiazarian of Golden Thread Productions, who is consulting on \u003cem>Noura\u003c/em>, points out. And the undercurrent of the very real dangers faced by their respective protagonists in their home countries gives \u003cem>Noura\u003c/em> and \u003cem>Mimi’s Suitcase\u003c/em> a vital kinship. But beyond the Middle Eastern diaspora stories illuminated by \u003cem>Noura\u003c/em> and \u003cem>Mimi’s Suitcase\u003c/em> are larger themes of immigration, family, and home, with broad, cross-cultural implications. In both works we find protagonists who love their families, value themselves, and mourn for their lost opportunities and former homelands, while laying claim to their future—all in the context of an immigration narrative.\u003c/p>\n\u003cp>“Ultimately I believe this is a universal story,” asserts Bayat about \u003cem>Mimi’s Suitcase\u003c/em>. “I’m hoping it humanizes immigrants so we don’t go about life othering. That we realize that at the end of the day…that we have so much in common.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Noura’ has been extended at Marin Theatre Company through Feb. 9. Details \u003ca href=\"http://www.marintheatre.org/productions/noura\">here.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Mimi’s Suitcase’ plays at NOHspace, Jan. 23-25. Tickets and info \u003ca href=\"http://www.anabayat.com/mimissuitcase\">here.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>At the place where music, technology and politics converge, you’ll find… discord. A group of more than 380 musicians — including well-known indie artists like Ted Leo, Deerhoof, Damon & Naomi, Zola Jesus, Downtown Boys and Sheer Mag — pledged in an open letter on Thursday to cut all business ties with Amazon over the work of its gargantuan Amazon Web Services (AWS) subsidiary.\u003c/p>\n\u003cp>[aside postID='arts_13849625' label='Stories For You']\u003c/p>\n\u003cp>The letter, organized in part by the activist group \u003ca href=\"https://www.fightforthefuture.org/\">Fight For The Future\u003c/a> and the public introduction to \u003ca href=\"https://twitter.com/nomusicforice\">No Music For ICE\u003c/a>, was spurred by AWS’ plans for a music festival called Intersect. The letter demands that AWS cancel all contracts with independent business and government agencies, such as Immigration and Customs Enforcement and Customs and Border Patrol, over human rights abuses it alleges they have committed. It also demands Amazon end work on “projects that encourage racial profiling and discrimination,” such as facial recognition technology. (A form of this tech has been deployed broadly in China, where it’s reportedly used \u003ca href=\"https://www.nytimes.com/2019/04/14/technology/china-surveillance-artificial-intelligence-racial-profiling.html\">to target\u003c/a> members of the Uighur community and to arrest suspects \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/23/613692526/thanks-to-ai-a-3rd-person-is-arrested-following-a-pop-superstars-concert\">outside of concerts\u003c/a>.) Amazon’s connection to ICE is through the database services it provides to Palantir, a data analytics company which has contracts with the agency. “We will not allow Amazon to exploit our creativity to promote its brand while it enables attacks on immigrants, communities of color, workers, and local economies. We call on all artists who believe in basic rights and human dignity to join us,” it\u003ca href=\"https://www.fightforthefuture.org/news/2019-10-24-no-music-for-ice-open-letter-from-musicians-to/\"> reads\u003c/a>.\u003c/p>\n\u003cp>[aside postID='arts_13852882' label='Apple Isn't Paying Artists Who Perform at Its Stores']\u003c/p>\n\u003cp>Today’s letter comes one week after Black Madonna, a highly regarded and internationally popular DJ, expressed surprise at Amazon’s involvement in a festival she had been booked to play. “If you were shocked I’d play for Amazon, well that makes two of us,” she\u003ca href=\"https://twitter.com/blackmadonnachi/status/1184959032978821120\"> wrote\u003c/a> on Twitter. Black Madonna claimed that the ownership of the festival, scheduled for Dec. 6 and 7 in Las Vegas, was not made clear at the time she signed the performance contract. After the DJ had burned “some bridges,” as she wrote, AWS agreed to release her from the contract.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Regardless, the festival’s\u003ca href=\"https://intersect.aws/lineup/#/artists/alphabetical\"> current lineup\u003c/a> is formidable, including mainstream acts like Foo Fighters, Spoon and Beck, lauded and laureled artists like Kacey Musgraves, Brandi Carlile and Thundercat, and younger talents Japanese Breakfast, Jpegmafia and Sudan Archives.\u003c/p>\n\u003cp>Amazon did not respond to a request for comment on the letter, or confirm whether or not any of the scheduled performers have canceled their contracts since its publication.\u003c/p>\n\u003cp>The letter is the latest public challenge to tech companies’ relationships with agencies such as ICE and CBP. Last year, 650 employees of business software company Salesforce petitioned Marc Benioff, its CEO, to cancel its contract with CBP. In August, more than 1,000 employees of Google\u003ca href=\"https://www.npr.org/2019/08/20/752670444/employees-demand-google-publicly-commit-to-not-work-with-ice\"> did the same\u003c/a>. This past July, Amazon Web Services itself was\u003ca href=\"https://www.washingtonpost.com/business/2019/07/12/no-tech-ice-protesters-demand-amazon-cut-ties-with-federal-immigration-enforcement/\"> protested\u003c/a>, outside of the Javits Center in New York where it was holding its AWS Summit, over the same issue.\u003c/p>\n\u003cp>[aside postID='arts_13859794' label='Trump's 'Extreme Vetting' Hurts the Arts, Discourages Cultural Exchange, Experts Say']\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Amazon Web Services bills itself as a “cloud platform” which provides the infrastructure — the highway part of the information superhighway — for things like the music that you hear when clicking play on Spotify, the show you’re watching on Netflix, or the airline tickets you’re thinking of purchasing on Expedia. (Spotify, for what it’s worth, is now in the midst of\u003ca href=\"https://www.cnbc.com/2018/03/20/spotify-will-spend-nearly-450-million-on-google-cloud-over-3-years.html\"> migrating\u003c/a> to Google’s cloud platform.) But the scale of AWS means it has essentially become a backbone — or, at least, a healthy number of the vertebrae — supporting the internet. That includes the databases of agencies like the Transportation Security Administration and CBP. In 2018, the research group Synergy\u003ca href=\"https://www.srgresearch.com/articles/cloud-revenues-continue-grow-50-top-four-providers-tighten-grip-market\"> classified\u003c/a> the company’s market share as being “in a league of its own.” As of the most recent financial quarter, AWS was\u003ca href=\"https://ir.aboutamazon.com/news-releases/news-release-details/amazoncom-announces-second-quarter-sales-20-634-billion\"> worth more\u003c/a> to Amazon than its retail segment, bringing in over $600 million in net income above Amazon.com in North America.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cp>Since 2015, under the threat of the Taliban, Afghan filmmakers Hassan Fazili and Fatima Hussaini, along with their two young daughters, have been on the run for their lives.\u003c/p>\n\u003cp>The family fled Afghanistan after the extremist group had called for Fazili’s death over a film he’d made about one of its commanders.\u003c/p>\n\u003cp>Even as the refugee family navigates a still-incomplete journey—of death threats, discrimination and paralyzing immigration systems—Fazili and Hussaini turn their cameras on themselves and their daughters.\u003c/p>\n\u003cp>Hundreds of hours of footage that Fazili and his family all shot on their three cell phone cameras emerge as the new documentary, \u003cem>Midnight Traveler\u003c/em>.\u003c/p>\n\u003cp>Although the film has already started to roll out in theaters, their journey isn’t over. The family awaits a pending application to remain in Germany, where they’ve been living since April 2018.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Filming two years of the family’s three-year quest for safety and stability—from Afghanistan to Hungary—kept Fazili sane, he said in a video statement.\u003c/p>\n\u003cp>“I felt like a parasite, a lowly person. Sometimes I felt like giving up,” he said. “It was this film that gave me hope. It was this film that gave me the feeling of being alive. Shooting this film gave me the feeling that one day I’d succeed. One day, the problems will end. One day, we’ll arrive at last.”\u003c/p>\n\u003cp>Producer Emelie Mahdavian, who edited the massive catalog of video, met the family through a community of filmmakers in Tajikistan in 2015, where they were applying for protection in other countries.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BTT-duEoRdc\u003c/p>\n\u003cp>In an interview with NPR’s \u003cem>All Things Considered, \u003c/em>Mahdavian said she arranged to have a contact to meet the family in each country they passed through, and bring a laptop and a hard drive to back up their most recent footage that the contact could then mail back to her in the U.S.\u003c/p>\n\u003cp>As a first-person account, Mahdavian said the film breaks from traditional journalistic coverage of Europe’s refugee crisis to tell a more humanistic story.\u003c/p>\n\u003cp>“Amidst this kind of tension and anxiety of the migrant experience, there’s also still the possibility for humor and joy, and a much more diverse and rich humanity to emerge, when we are in the hands of this family rather than in the hands of an outsider who’s coming and looking for a quick story,” she said.\u003c/p>\n\u003cp>Fazili said in a press statement that, behind the camera, he struggled to balance his roles as both a protective parent and an artist.\u003c/p>\n\u003cp>“With this film, the more problems my family has and the more pain and suffering my eyes see, the better the film becomes—and I do not know what my responsibility is at that moment: father or director?”\u003c/p>\n\u003cp>Mahdavian told NPR that “moments of high drama [were] punctuated by a lot of time of trying to keep normalcy for their family.”\u003c/p>\n\u003cp>“Fleeing for your life involves a lot of being stuck in [refugee] camps and waiting, and for people who are used to working hard, having normal lives, being asked to sit somewhere for 12 months with nothing to do in a small room in really cramped quarters.”\u003c/p>\n\u003cp>In the editing process, Mahdavian, a resident of largely conservative rural Idaho, said she considered how audiences that might not be sympathetic to migrants’ stories would receive the film.\u003c/p>\n\u003cp>“What I found—at least in speaking to my friends and neighbors—is that people are open to being honest on a journey with somebody they appreciate not being preached to first,” she said. “That’s part of why it was important to me to not frame their story in advance with politics but to allow their story to stand on its own.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think that’s what allows the film to open a conversation … we really are just trying to allow people to know what this journey is like.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Refugee+Family+Takes+Viewers+On+A+Years-Long+Escape+In+%27Midnight+Traveler%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Filming two years of the family’s three-year quest for safety and stability—from Afghanistan to Hungary—kept Fazili sane, he said in a video statement.\u003c/p>\n\u003cp>“I felt like a parasite, a lowly person. Sometimes I felt like giving up,” he said. “It was this film that gave me hope. It was this film that gave me the feeling of being alive. Shooting this film gave me the feeling that one day I’d succeed. One day, the problems will end. One day, we’ll arrive at last.”\u003c/p>\n\u003cp>Producer Emelie Mahdavian, who edited the massive catalog of video, met the family through a community of filmmakers in Tajikistan in 2015, where they were applying for protection in other countries.\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/BTT-duEoRdc'\n title='//www.youtube.com/embed/BTT-duEoRdc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In an interview with NPR’s \u003cem>All Things Considered, \u003c/em>Mahdavian said she arranged to have a contact to meet the family in each country they passed through, and bring a laptop and a hard drive to back up their most recent footage that the contact could then mail back to her in the U.S.\u003c/p>\n\u003cp>As a first-person account, Mahdavian said the film breaks from traditional journalistic coverage of Europe’s refugee crisis to tell a more humanistic story.\u003c/p>\n\u003cp>“Amidst this kind of tension and anxiety of the migrant experience, there’s also still the possibility for humor and joy, and a much more diverse and rich humanity to emerge, when we are in the hands of this family rather than in the hands of an outsider who’s coming and looking for a quick story,” she said.\u003c/p>\n\u003cp>Fazili said in a press statement that, behind the camera, he struggled to balance his roles as both a protective parent and an artist.\u003c/p>\n\u003cp>“With this film, the more problems my family has and the more pain and suffering my eyes see, the better the film becomes—and I do not know what my responsibility is at that moment: father or director?”\u003c/p>\n\u003cp>Mahdavian told NPR that “moments of high drama [were] punctuated by a lot of time of trying to keep normalcy for their family.”\u003c/p>\n\u003cp>“Fleeing for your life involves a lot of being stuck in [refugee] camps and waiting, and for people who are used to working hard, having normal lives, being asked to sit somewhere for 12 months with nothing to do in a small room in really cramped quarters.”\u003c/p>\n\u003cp>In the editing process, Mahdavian, a resident of largely conservative rural Idaho, said she considered how audiences that might not be sympathetic to migrants’ stories would receive the film.\u003c/p>\n\u003cp>“What I found—at least in speaking to my friends and neighbors—is that people are open to being honest on a journey with somebody they appreciate not being preached to first,” she said. “That’s part of why it was important to me to not frame their story in advance with politics but to allow their story to stand on its own.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think that’s what allows the film to open a conversation … we really are just trying to allow people to know what this journey is like.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Refugee+Family+Takes+Viewers+On+A+Years-Long+Escape+In+%27Midnight+Traveler%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Arleene Correa Valencia Makes Immigrant Labor Visible in Portraits of Napa Workers",
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"content": "\u003cp>\u003cem>\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2019/09/REP1918_Arleene_Correa_Valencia_Spanish_Captions.pdf\">Download Spanish Transcript.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Mexican artist \u003ca href=\"https://www.correavalencia.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Arleene Correa Valencia\u003c/a> thinks a lot about where she can go and where she can’t go, and about whose bodies are welcome in which spaces—especially in the realm of fine art. \u003cspan class=\"c-message__body\" dir=\"auto\">Growing up in Napa as an undocumented immigrant, she witnessed firsthand the wealth disparity of the wine-growing region; while members of her family worked in the fields picking grapes, limos passed by conveying people to wine tastings.\u003c/span>\u003c/p>\n\u003cp>“My life has always been this in-between,” she says. “I try to be very cautious of my place and what it means to be an artist who’s investigating these very specific issues.” Correa Valencia was born in Arteaga, Michoacán and came with her family to the United States when she was three years old.\u003c/p>\n\u003cfigure id=\"attachment_13867074\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867074\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/ArleeneArt_3-1-800x533.jpg\" alt=\"'María Dolores' by Arleene Correa Valencia (courtesy of the artist)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/ArleeneArt_3-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/ArleeneArt_3-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/ArleeneArt_3-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/ArleeneArt_3-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/ArleeneArt_3-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/ArleeneArt_3-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/ArleeneArt_3-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arleene Correa Valencia, ‘María Dolores.’ (Courtesy of the artist)\u003c/figcaption>\u003c/figure>\n\u003cp>In a series of portraits of field workers, Correa Valencia establishes a relationship before she broaches the topic of painting her subjects. She explains how she wants to make their often invisible labor tangible to art audiences by physically inserting brown faces into white-walled spaces. These portraits, she says, reflect the resilience and extreme work ethic of her Latino community.\u003c/p>\n\u003cp>After fires swept through the region in 2017, ash and smoke in the air made any outdoor activity unsafe, and yet vineyard workers continued to pick grapes—they couldn’t afford to stop. Napa, Correa Valencia says, “is so rich and full of wealth, but also is home to some of the most cruel conditions for human beings.”\u003c/p>\n\u003cfigure id=\"attachment_13867072\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13867072 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-08-28-at-1.07.22-PM-800x636.png\" alt=\"'Para Mantener a Mis Hijos' by Arleene Correa Valencia (courtesy of the artist)\" width=\"800\" height=\"636\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-08-28-at-1.07.22-PM-800x636.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-08-28-at-1.07.22-PM-160x127.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-08-28-at-1.07.22-PM-768x610.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-08-28-at-1.07.22-PM-1020x811.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-08-28-at-1.07.22-PM-1200x954.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-08-28-at-1.07.22-PM-1920x1526.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-08-28-at-1.07.22-PM.png 2026w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arleene Correa Valencia, ‘Para Mantener a Mis Hijos.’ (Courtesy of the artist)\u003c/figcaption>\u003c/figure>\n\u003cp>Her openness about her own undocumented status is part of her desire to make hidden truths apparent through her art. “There’s definitely a lot of shame that comes with being undocumented, especially when you’re younger,” she remembers. Correa Valencia qualified for DACA and in 2018 completed a BFA in painting from California College of the Arts, where she has continued graduate studies.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As she’s \u003ca href=\"https://www.npr.org/sections/thesalt/2018/09/01/642656221/after-the-wildfires-artist-captures-plight-of-napas-undocumented-workers\" target=\"_blank\" rel=\"noopener noreferrer\">gotten more attention for her practice\u003c/a>, her father has worried for her safety. “I was like, ‘Dad, a lot of people talking about this haven’t necessarily really lived it,” she says. “I have to try to show people what it’s like.’”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The two of them are now collaborators; she consults her father on just about every piece of art she makes. They developed a technique that lets Correa Valencia paint on wooden pallets—cheaply made objects meant to support goods from place to place, easily discarded by the side of the road. For Correa Valencia, the metamorphosis from trash to artwork is a metaphor for her family’s own immigration story. “I believe that we transform ourselves,” she says, “from being considered nothing to being something.” —\u003cem>Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2019/09/REP1918_Arleene_Correa_Valencia_Spanish_Captions.pdf\">Download Spanish Transcript.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Mexican artist \u003ca href=\"https://www.correavalencia.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Arleene Correa Valencia\u003c/a> thinks a lot about where she can go and where she can’t go, and about whose bodies are welcome in which spaces—especially in the realm of fine art. \u003cspan class=\"c-message__body\" dir=\"auto\">Growing up in Napa as an undocumented immigrant, she witnessed firsthand the wealth disparity of the wine-growing region; while members of her family worked in the fields picking grapes, limos passed by conveying people to wine tastings.\u003c/span>\u003c/p>\n\u003cp>“My life has always been this in-between,” she says. “I try to be very cautious of my place and what it means to be an artist who’s investigating these very specific issues.” Correa Valencia was born in Arteaga, Michoacán and came with her family to the United States when she was three years old.\u003c/p>\n\u003cfigure id=\"attachment_13867074\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867074\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/ArleeneArt_3-1-800x533.jpg\" alt=\"'María Dolores' by Arleene Correa Valencia (courtesy of the artist)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/ArleeneArt_3-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/ArleeneArt_3-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/ArleeneArt_3-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/ArleeneArt_3-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/ArleeneArt_3-1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/ArleeneArt_3-1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/ArleeneArt_3-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arleene Correa Valencia, ‘María Dolores.’ (Courtesy of the artist)\u003c/figcaption>\u003c/figure>\n\u003cp>In a series of portraits of field workers, Correa Valencia establishes a relationship before she broaches the topic of painting her subjects. She explains how she wants to make their often invisible labor tangible to art audiences by physically inserting brown faces into white-walled spaces. These portraits, she says, reflect the resilience and extreme work ethic of her Latino community.\u003c/p>\n\u003cp>After fires swept through the region in 2017, ash and smoke in the air made any outdoor activity unsafe, and yet vineyard workers continued to pick grapes—they couldn’t afford to stop. Napa, Correa Valencia says, “is so rich and full of wealth, but also is home to some of the most cruel conditions for human beings.”\u003c/p>\n\u003cfigure id=\"attachment_13867072\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13867072 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-08-28-at-1.07.22-PM-800x636.png\" alt=\"'Para Mantener a Mis Hijos' by Arleene Correa Valencia (courtesy of the artist)\" width=\"800\" height=\"636\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-08-28-at-1.07.22-PM-800x636.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-08-28-at-1.07.22-PM-160x127.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-08-28-at-1.07.22-PM-768x610.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-08-28-at-1.07.22-PM-1020x811.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-08-28-at-1.07.22-PM-1200x954.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-08-28-at-1.07.22-PM-1920x1526.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-08-28-at-1.07.22-PM.png 2026w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arleene Correa Valencia, ‘Para Mantener a Mis Hijos.’ (Courtesy of the artist)\u003c/figcaption>\u003c/figure>\n\u003cp>Her openness about her own undocumented status is part of her desire to make hidden truths apparent through her art. “There’s definitely a lot of shame that comes with being undocumented, especially when you’re younger,” she remembers. Correa Valencia qualified for DACA and in 2018 completed a BFA in painting from California College of the Arts, where she has continued graduate studies.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As she’s \u003ca href=\"https://www.npr.org/sections/thesalt/2018/09/01/642656221/after-the-wildfires-artist-captures-plight-of-napas-undocumented-workers\" target=\"_blank\" rel=\"noopener noreferrer\">gotten more attention for her practice\u003c/a>, her father has worried for her safety. “I was like, ‘Dad, a lot of people talking about this haven’t necessarily really lived it,” she says. “I have to try to show people what it’s like.’”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The two of them are now collaborators; she consults her father on just about every piece of art she makes. They developed a technique that lets Correa Valencia paint on wooden pallets—cheaply made objects meant to support goods from place to place, easily discarded by the side of the road. For Correa Valencia, the metamorphosis from trash to artwork is a metaphor for her family’s own immigration story. “I believe that we transform ourselves,” she says, “from being considered nothing to being something.” —\u003cem>Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>María Fernanda Papa was 4 years old when she and her family arrived in Miami. She’d begun dancing back home in Venezuela, and when she and her parents settled in the U.S., she asked if she could continue practicing ballet. Eventually, they found a spot for her in an “amazing school,” says María, now 16.\u003c/p>\n\u003cp>\u003ca href=\"https://www.classicalballetschool.com/\">That amazing school,\u003c/a> run by the Arts Ballet Theatre of Florida, is in a strip mall in North Miami Beach. Many of the dancers are Venezuelan. In recent years, more than 200,000 Venezuelans fleeing political and economic upheaval have settled in South Florida.\u003c/p>\n\u003cp>Many of the children are continuing artistic studies they began in their home country. \u003ca href=\"https://www.artsballettheatre.org/\">Arts Ballet Theatre\u003c/a> and its associated school is run by Ruby Romero-Issaev and her husband, ballet master \u003ca href=\"https://www.artsballettheatre.org/director-1\">Vladimir Issaev\u003c/a>. They came to Miami from Venezuela in 1997, a couple of years before Hugo Chávez came to power. Over the next two decades, under Chávez and his successor Nicolás Maduro, the country became more authoritarian and basic goods and services became harder to get. So, many other Venezuelans followed, including families with children.\u003c/p>\n\u003cp>[aside tag='if-cities-could-dance' label='WATCH: If Cities Could Dance']\u003c/p>\n\u003cp>“Although they knew they were going to struggle, they didn’t want the children’s lives to change,” Romero-Issaev says. “If they were doing tennis, they wanted to do tennis. If they were doing soccer, they wanted to do soccer. If they were doing ballet, they needed to do ballet.”\u003c/p>\n\u003cp>With help from Miami’s \u003ca href=\"https://www.thechildrenstrust.org/\">Children’s Trust,\u003c/a> a quasi-governmental agency, Arts Ballet Theatre and the school are able to provide scholarships to students from low-income families, including many newly arrived from Venezuela.\u003c/p>\n\u003cp>\u003ca href=\"https://www.artsballettheatre.org/lusian-hernandez\">Lusian Hernández,\u003c/a> 25, is a soloist who dances with Arts Ballet Theatre’s professional company. She came to Miami when she was 16, determined to continue her studies and launch a career. In Venezuela now, she says there are few opportunities for dancers.\u003c/p>\n\u003cp>“Many schools had to close,” Hernández explains. Students didn’t have the money to pay tuition, and without tuition, the schools couldn’t pay rent. “It’s very insecure,” she says. “So [dancers] have to leave the country and the schools start closing.”\u003c/p>\n\u003cp>There used to be three professional ballet companies in Caracas. Now there’s just one, Hernández says, and it’s small. She remembers point shoes were already expensive and hard to find a decade ago — her parents, who are still back at home in Venezuela — say it’s now all but impossible to get a pair.\u003c/p>\n\u003cp>Hernandez considers herself lucky to be in the U.S. where she can continue her studies with the hopes of one day becoming a professional dancer. With help from Arts Ballet Theatre, Hernández collects used point shoes from the company’s dancers which she sends to a dance school in her hometown.\u003c/p>\n\u003cp>Other arts programs in Miami are also working to help young Venezuelans adjust to life in a new country. On a recent afternoon, at a church in the Miami neighborhood of Coconut Grove, a dozen beginners on violins and cellos are playing scales and simple tunes. They’re part of \u003ca href=\"https://www.musicall.org/\">Musicall\u003c/a>, another arts program offering scholarships. About a quarter of the program’s 300 students are from Venezuela.\u003c/p>\n\u003cp>Venezuela is “a very musical country,” says opera singer and Musicall teacher Carlos Silva. He began his vocal studies at a school that was part of El Sistema — the renowned Venezuelan music education program founded more than 40 years ago. Its graduates include \u003ca href=\"https://www.npr.org/sections/deceptivecadence/2017/05/04/526897569/gustavo-dudamel-addresses-venezuelas-leaders-enough-is-enough\">conductor Gustavo Dudamel, \u003c/a>who now leads the Los Angeles Philharmonic.\u003c/p>\n\u003cp>But under the Chávez and Muduro regimes, music education programs suffered and many teachers left the country, Silva explains, and now “those who couldn’t travel outside of the country are stuck there and they are facing a lot of problems.”\u003c/p>\n\u003cp>[aside tag='immigration' label='Stories For You']\u003c/p>\n\u003cp>In today’s Venezuela, Silva says, there are more pressing needs than music education. People are starving, he says: “It’s difficult to find a place for music. There are priorities and the priority there is to find something to eat.” Silva wants to someday go back to Venezuela to teach, but he doesn’t know when that might become possible.\u003c/p>\n\u003cp>Ruby Romero-Issaev, with Arts Ballet Theatre, is ready to help rebuild Venezuela, too — but in the meantime, she has work to do here. “We were lucky at a certain point to be here, to have a visa, to be able to work, to be able to establish our lives here,” she says. “We think it’s our responsibility to try to help other Venezuelan families that are bringing the kids.”\u003c/p>\n\u003cp>Knowing what their families and friends are going through in Venezuela is hard for her students, Romero-Issaev says: “You see their sadness, but once they get into the studio, and the music starts to play … their minds, their hearts open and they feel they’re in another world.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>María Fernanda Papa was 4 years old when she and her family arrived in Miami. She’d begun dancing back home in Venezuela, and when she and her parents settled in the U.S., she asked if she could continue practicing ballet. Eventually, they found a spot for her in an “amazing school,” says María, now 16.\u003c/p>\n\u003cp>\u003ca href=\"https://www.classicalballetschool.com/\">That amazing school,\u003c/a> run by the Arts Ballet Theatre of Florida, is in a strip mall in North Miami Beach. Many of the dancers are Venezuelan. In recent years, more than 200,000 Venezuelans fleeing political and economic upheaval have settled in South Florida.\u003c/p>\n\u003cp>Many of the children are continuing artistic studies they began in their home country. \u003ca href=\"https://www.artsballettheatre.org/\">Arts Ballet Theatre\u003c/a> and its associated school is run by Ruby Romero-Issaev and her husband, ballet master \u003ca href=\"https://www.artsballettheatre.org/director-1\">Vladimir Issaev\u003c/a>. They came to Miami from Venezuela in 1997, a couple of years before Hugo Chávez came to power. Over the next two decades, under Chávez and his successor Nicolás Maduro, the country became more authoritarian and basic goods and services became harder to get. So, many other Venezuelans followed, including families with children.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Although they knew they were going to struggle, they didn’t want the children’s lives to change,” Romero-Issaev says. “If they were doing tennis, they wanted to do tennis. If they were doing soccer, they wanted to do soccer. If they were doing ballet, they needed to do ballet.”\u003c/p>\n\u003cp>With help from Miami’s \u003ca href=\"https://www.thechildrenstrust.org/\">Children’s Trust,\u003c/a> a quasi-governmental agency, Arts Ballet Theatre and the school are able to provide scholarships to students from low-income families, including many newly arrived from Venezuela.\u003c/p>\n\u003cp>\u003ca href=\"https://www.artsballettheatre.org/lusian-hernandez\">Lusian Hernández,\u003c/a> 25, is a soloist who dances with Arts Ballet Theatre’s professional company. She came to Miami when she was 16, determined to continue her studies and launch a career. In Venezuela now, she says there are few opportunities for dancers.\u003c/p>\n\u003cp>“Many schools had to close,” Hernández explains. Students didn’t have the money to pay tuition, and without tuition, the schools couldn’t pay rent. “It’s very insecure,” she says. “So [dancers] have to leave the country and the schools start closing.”\u003c/p>\n\u003cp>There used to be three professional ballet companies in Caracas. Now there’s just one, Hernández says, and it’s small. She remembers point shoes were already expensive and hard to find a decade ago — her parents, who are still back at home in Venezuela — say it’s now all but impossible to get a pair.\u003c/p>\n\u003cp>Hernandez considers herself lucky to be in the U.S. where she can continue her studies with the hopes of one day becoming a professional dancer. With help from Arts Ballet Theatre, Hernández collects used point shoes from the company’s dancers which she sends to a dance school in her hometown.\u003c/p>\n\u003cp>Other arts programs in Miami are also working to help young Venezuelans adjust to life in a new country. On a recent afternoon, at a church in the Miami neighborhood of Coconut Grove, a dozen beginners on violins and cellos are playing scales and simple tunes. They’re part of \u003ca href=\"https://www.musicall.org/\">Musicall\u003c/a>, another arts program offering scholarships. About a quarter of the program’s 300 students are from Venezuela.\u003c/p>\n\u003cp>Venezuela is “a very musical country,” says opera singer and Musicall teacher Carlos Silva. He began his vocal studies at a school that was part of El Sistema — the renowned Venezuelan music education program founded more than 40 years ago. Its graduates include \u003ca href=\"https://www.npr.org/sections/deceptivecadence/2017/05/04/526897569/gustavo-dudamel-addresses-venezuelas-leaders-enough-is-enough\">conductor Gustavo Dudamel, \u003c/a>who now leads the Los Angeles Philharmonic.\u003c/p>\n\u003cp>But under the Chávez and Muduro regimes, music education programs suffered and many teachers left the country, Silva explains, and now “those who couldn’t travel outside of the country are stuck there and they are facing a lot of problems.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In today’s Venezuela, Silva says, there are more pressing needs than music education. People are starving, he says: “It’s difficult to find a place for music. There are priorities and the priority there is to find something to eat.” Silva wants to someday go back to Venezuela to teach, but he doesn’t know when that might become possible.\u003c/p>\n\u003cp>Ruby Romero-Issaev, with Arts Ballet Theatre, is ready to help rebuild Venezuela, too — but in the meantime, she has work to do here. “We were lucky at a certain point to be here, to have a visa, to be able to work, to be able to establish our lives here,” she says. “We think it’s our responsibility to try to help other Venezuelan families that are bringing the kids.”\u003c/p>\n\u003cp>Knowing what their families and friends are going through in Venezuela is hard for her students, Romero-Issaev says: “You see their sadness, but once they get into the studio, and the music starts to play … their minds, their hearts open and they feel they’re in another world.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In the new season of the Oakland web series \u003ca href=\"http://www.thenorthpoleshow.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>The North Pole\u003c/em>\u003c/a>, one of the main characters, Benny (Santiago Rosas), comes out. That is, as an undocumented immigrant.\u003c/p>\n\u003cp>Though he’s known his best friends Nina (Reyna Amaya) and Marcus (Donte Clark) since elementary school, they hadn’t been aware that his family didn’t get their papers when they came to Oakland fleeing persecution during El Salvador’s civil war. Like many childhood immigrants, Benny had found himself under pressure to assimilate. He doesn’t tell anyone his status, in fact, until he faces deportation after getting arrested at an anti-eviction protest. [aside postid='arts_13808042']\u003c/p>\n\u003cp>\u003cem>The North Pole\u003c/em>, with Season Two \u003ca href=\"http://www.thenorthpoleshow.com/\" target=\"_blank\" rel=\"noopener\">now streaming online\u003c/a>, follows a group of friends navigating a rapidly changing Oakland, centering on how the endearing squad’s lives intersect with race, economics and gentrification. This season’s plot may appear to be a response to the current administration’s treatment of immigrants—including recent I.C.E. raids and attempts to gut the DREAM Act, which benefits childhood immigrants like Benny.\u003c/p>\n\u003cp>But director Yvan Iturriaga says that inspiration came from personal experience: namely, his days at Berkeley High School in the late ’90s, when one of his friends, also an immigrant from El Salvador, went through a similar predicament.\u003c/p>\n\u003cp>“He used to lie to us that he was Puerto Rican, but 20 years later he got arrested and he had to tell us that he’s undocumented,” Iturriaga says. “It’s a process for a lot of people, especially if you’ve been here since you were five years old.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/rkMsx4Zz-OQ\u003c/p>\n\u003cp>In \u003cem>The North Pole\u003c/em>‘s new season, Benny’s immigration lawyer (played by executive producer Rosario Dawson) tells him to raise his profile, and get his face out there by any means necessary. So the friends concoct a plan: for Benny to run for Alameda County sheriff against the incumbent who signed his deportation order. [aside postid='arts_13836455']\u003c/p>\n\u003cp>Although this plan isn’t logistically (or legally) feasible, the show’s clever, sometimes absurdist humor invites viewers to suspend disbelief (after all, \u003cem>Sorry to Bother You\u003c/em> director Boots Riley voices a giant polar bear who appears at pivotal moments). Throughout the season, Benny’s struggles interweave with the other friends’ storylines. Nina grapples with distractions, and her ego, as her social media following climbs; Marcus learns to take care of himself before he can help his community, as his asthma flares up during the 2018 Camp Fire. And Finn (Eli Marienthal) learns to put his principles where his mouth is by confronting his racist parents.\u003c/p>\n\u003cp>Impressively, Iturriaga and writers Josh Healy, Clark and Amaya cram all these narratives into seven episodes that total the length of a feature film. By default, \u003cem>The North Pole\u003c/em> is an unconventional show: one of its executive producers, the nonprofit Movement Generation, created it with the mission of using television to raise awareness about climate justice, gentrification and other social issues. While in season one, some of that messaging felt heavy-handed, \u003cem>The North Pole\u003c/em>‘s second season benefits from more sophisticated storytelling and a slightly bigger budget.\u003c/p>\n\u003cp>[pullquote size='large' citation='Yvan Iturriaga, director']“The American dream exists because they created a nightmare somewhere else.”[/pullquote]\u003c/p>\n\u003cp>Benny’s immigration story hit particularly close to home for star Santiago Rosas, who grew up in Arizona, the state that passed the most stringent anti-immigrant laws in U.S. history, including a now-defunct 2010 measure that \u003ca href=\"https://www.latimes.com/nation/la-na-arizona-law-20160915-snap-story.html\" target=\"_blank\" rel=\"noopener\">required police officers to check immigration papers during traffic stops\u003c/a>.\u003c/p>\n\u003cp>“I have that background. I’m able to connect, and understand, and relate to a lot of the struggle,” says Rosas, who is Mexican American.\u003c/p>\n\u003cp>Although the conversation about immigration in California tends to focus on Mexican immigrants, Rosas and Iturriaga say it’s significant that Benny is Salvadorian. Not only do Salvadorian immigrant stories rarely get screen time, but the U.S. military’s involvement in the country’s bloody civil war is an example of how foreign policy often creates the very conditions that force people to flee their homelands. The civil war in El Salvador lasted over 12 years, and left 75,000 confirmed dead and countless more missing. After \u003ca href=\"https://www.theatlantic.com/international/archive/2018/01/trump-and-el-salvador/550955/\" target=\"_blank\" rel=\"noopener\">U.S. intervention\u003c/a>, the country descended into years of instability that its 2001 earthquake only made worse.\u003c/p>\n\u003cfigure id=\"attachment_13866160\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866160\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/TNP_S2_EP5-COLOR.00_02_03_14.Still228-1-800x450.jpg\" alt=\"Santiago Rosas as Benny in season two of 'The North Pole.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/TNP_S2_EP5-COLOR.00_02_03_14.Still228-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/TNP_S2_EP5-COLOR.00_02_03_14.Still228-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/TNP_S2_EP5-COLOR.00_02_03_14.Still228-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/TNP_S2_EP5-COLOR.00_02_03_14.Still228-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/TNP_S2_EP5-COLOR.00_02_03_14.Still228-1-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/TNP_S2_EP5-COLOR.00_02_03_14.Still228-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Santiago Rosas as Benny in season two of ‘The North Pole.’ \u003ccite>(The North Pole)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The American dream exists because they created a nightmare somewhere else,” says Iturriaga, adding that inhumane treatment isn’t a symptom solely of the Trump administration.\u003c/p>\n\u003cp>“In the U.S., I think there tends to be historical amnesia. But Obama deported a ton of people,” says Iturriaga. “And since the early 1900s, what happens at the border has been very problematic. So I feel like it’s something we need to be talking about, and we need to address \u003cem>why\u003c/em> it’s happening.”\u003c/p>\n\u003cp>Rosas’ portrayal of Benny also illustrates the ways marginalized people get thrust into political battles while trying to live their day-to-day lives. In one particularly poignant scene, Benny faces off in a spontaneous debate against the incumbent sheriff, a slick talker who, like many Bay Area politicians, couches her pro-prison policies in progressive talking points. Benny gets tripped up in the debate, exemplifying one of his challenges throughout the season: learning how to advocate for himself and speak his truth.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“At the heart of it, [\u003cem>The North Pole\u003c/em> is] art and a call to action,” says Rosas. “We want people to see that if you want to change the conditions of the violent immigration system, we have to change the narrative. We want the audience to be bold and apologetic.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the new season of the Oakland web series \u003ca href=\"http://www.thenorthpoleshow.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>The North Pole\u003c/em>\u003c/a>, one of the main characters, Benny (Santiago Rosas), comes out. That is, as an undocumented immigrant.\u003c/p>\n\u003cp>Though he’s known his best friends Nina (Reyna Amaya) and Marcus (Donte Clark) since elementary school, they hadn’t been aware that his family didn’t get their papers when they came to Oakland fleeing persecution during El Salvador’s civil war. Like many childhood immigrants, Benny had found himself under pressure to assimilate. He doesn’t tell anyone his status, in fact, until he faces deportation after getting arrested at an anti-eviction protest. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The North Pole\u003c/em>, with Season Two \u003ca href=\"http://www.thenorthpoleshow.com/\" target=\"_blank\" rel=\"noopener\">now streaming online\u003c/a>, follows a group of friends navigating a rapidly changing Oakland, centering on how the endearing squad’s lives intersect with race, economics and gentrification. This season’s plot may appear to be a response to the current administration’s treatment of immigrants—including recent I.C.E. raids and attempts to gut the DREAM Act, which benefits childhood immigrants like Benny.\u003c/p>\n\u003cp>But director Yvan Iturriaga says that inspiration came from personal experience: namely, his days at Berkeley High School in the late ’90s, when one of his friends, also an immigrant from El Salvador, went through a similar predicament.\u003c/p>\n\u003cp>“He used to lie to us that he was Puerto Rican, but 20 years later he got arrested and he had to tell us that he’s undocumented,” Iturriaga says. “It’s a process for a lot of people, especially if you’ve been here since you were five years old.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/rkMsx4Zz-OQ'\n title='//www.youtube.com/embed/rkMsx4Zz-OQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In \u003cem>The North Pole\u003c/em>‘s new season, Benny’s immigration lawyer (played by executive producer Rosario Dawson) tells him to raise his profile, and get his face out there by any means necessary. So the friends concoct a plan: for Benny to run for Alameda County sheriff against the incumbent who signed his deportation order. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Although this plan isn’t logistically (or legally) feasible, the show’s clever, sometimes absurdist humor invites viewers to suspend disbelief (after all, \u003cem>Sorry to Bother You\u003c/em> director Boots Riley voices a giant polar bear who appears at pivotal moments). Throughout the season, Benny’s struggles interweave with the other friends’ storylines. Nina grapples with distractions, and her ego, as her social media following climbs; Marcus learns to take care of himself before he can help his community, as his asthma flares up during the 2018 Camp Fire. And Finn (Eli Marienthal) learns to put his principles where his mouth is by confronting his racist parents.\u003c/p>\n\u003cp>Impressively, Iturriaga and writers Josh Healy, Clark and Amaya cram all these narratives into seven episodes that total the length of a feature film. By default, \u003cem>The North Pole\u003c/em> is an unconventional show: one of its executive producers, the nonprofit Movement Generation, created it with the mission of using television to raise awareness about climate justice, gentrification and other social issues. While in season one, some of that messaging felt heavy-handed, \u003cem>The North Pole\u003c/em>‘s second season benefits from more sophisticated storytelling and a slightly bigger budget.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Benny’s immigration story hit particularly close to home for star Santiago Rosas, who grew up in Arizona, the state that passed the most stringent anti-immigrant laws in U.S. history, including a now-defunct 2010 measure that \u003ca href=\"https://www.latimes.com/nation/la-na-arizona-law-20160915-snap-story.html\" target=\"_blank\" rel=\"noopener\">required police officers to check immigration papers during traffic stops\u003c/a>.\u003c/p>\n\u003cp>“I have that background. I’m able to connect, and understand, and relate to a lot of the struggle,” says Rosas, who is Mexican American.\u003c/p>\n\u003cp>Although the conversation about immigration in California tends to focus on Mexican immigrants, Rosas and Iturriaga say it’s significant that Benny is Salvadorian. Not only do Salvadorian immigrant stories rarely get screen time, but the U.S. military’s involvement in the country’s bloody civil war is an example of how foreign policy often creates the very conditions that force people to flee their homelands. The civil war in El Salvador lasted over 12 years, and left 75,000 confirmed dead and countless more missing. After \u003ca href=\"https://www.theatlantic.com/international/archive/2018/01/trump-and-el-salvador/550955/\" target=\"_blank\" rel=\"noopener\">U.S. intervention\u003c/a>, the country descended into years of instability that its 2001 earthquake only made worse.\u003c/p>\n\u003cfigure id=\"attachment_13866160\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13866160\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/TNP_S2_EP5-COLOR.00_02_03_14.Still228-1-800x450.jpg\" alt=\"Santiago Rosas as Benny in season two of 'The North Pole.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/TNP_S2_EP5-COLOR.00_02_03_14.Still228-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/TNP_S2_EP5-COLOR.00_02_03_14.Still228-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/TNP_S2_EP5-COLOR.00_02_03_14.Still228-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/TNP_S2_EP5-COLOR.00_02_03_14.Still228-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/TNP_S2_EP5-COLOR.00_02_03_14.Still228-1-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/TNP_S2_EP5-COLOR.00_02_03_14.Still228-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Santiago Rosas as Benny in season two of ‘The North Pole.’ \u003ccite>(The North Pole)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The American dream exists because they created a nightmare somewhere else,” says Iturriaga, adding that inhumane treatment isn’t a symptom solely of the Trump administration.\u003c/p>\n\u003cp>“In the U.S., I think there tends to be historical amnesia. But Obama deported a ton of people,” says Iturriaga. “And since the early 1900s, what happens at the border has been very problematic. So I feel like it’s something we need to be talking about, and we need to address \u003cem>why\u003c/em> it’s happening.”\u003c/p>\n\u003cp>Rosas’ portrayal of Benny also illustrates the ways marginalized people get thrust into political battles while trying to live their day-to-day lives. In one particularly poignant scene, Benny faces off in a spontaneous debate against the incumbent sheriff, a slick talker who, like many Bay Area politicians, couches her pro-prison policies in progressive talking points. Benny gets tripped up in the debate, exemplifying one of his challenges throughout the season: learning how to advocate for himself and speak his truth.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“At the heart of it, [\u003cem>The North Pole\u003c/em> is] art and a call to action,” says Rosas. “We want people to see that if you want to change the conditions of the violent immigration system, we have to change the narrative. We want the audience to be bold and apologetic.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Inside of Maria Paz’s studio, there’s all sorts of artwork, partially used paint tubes, unopened bags of clay and handwritten notes on her wooden working table. But the first thing I noticed on my visit was a big display that reads “Vida Ancestral.” When I asked her about it, Paz replied that it’s a reminder to ensure her work pays homage to her ancestors.\u003c/p>\n\u003cp>That’s fitting, given the medium she’s chosen for her work: hand-coiled ceramic sculpture.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/kilns/\" target=\"_blank\" rel=\"noopener\">Paz\u003c/a> is an Oakland-based storyteller who uses ceramics as her canvas, on which she depicts themes of sexual harassment, the ongoing saga around immigration in the United States and more.\u003c/p>\n\u003cp>She takes modern-day subjects and uses an ancient art form to tell their story; handcrafting sculptures and then painting images and narratives on the outside of the objects. And through this, she not only sheds light on today’s problems and pays homage to her ancestors, but she also finds personal healing.\u003c/p>\n\u003cfigure id=\"attachment_13865387\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865387\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/image_from_ios-800x535.jpg\" alt=\"Maria Paz's work\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/image_from_ios-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/image_from_ios-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/image_from_ios-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/image_from_ios-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/image_from_ios-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/image_from_ios.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maria Paz’s work. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Paz was born in Chile, and after moving to Southern California as a child, she hadn’t visited her native country until earlier this year. As an undocumented resident of the United States, it wasn’t wise for her to leave. Prior to the trip, she completed the necessary arrangements to get her proper paperwork, but there was an issue in delivering her paperwork, so she was forced to spend some extra time in South America before everything got worked out.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Back at home in Oakland, after experiencing firsthand the issues with immigration and documentation, Paz had yet another story tell—adding to the layers of work she puts into her hand-crafted sculptures.\u003c/p>\n\u003cp>In this week’s episode of Rightnowish, Paz speaks with me about her personal experience, the larger issues around immigration and honoring her ancestors. To hear all about it, click the link above.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And to hear Paz in-person, on Tuesday, Sept. 3, she’ll show her work and give an artist talk at \u003ca href=\"http://www.thepaintingsalon.com/\" target=\"_blank\" rel=\"noopener\">The Painting Salon\u003c/a>, at the Royal Nonesuch Gallery in Oakland, from 6:30-9pm. \u003ca href=\"http://www.thepaintingsalon.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Inside of Maria Paz’s studio, there’s all sorts of artwork, partially used paint tubes, unopened bags of clay and handwritten notes on her wooden working table. But the first thing I noticed on my visit was a big display that reads “Vida Ancestral.” When I asked her about it, Paz replied that it’s a reminder to ensure her work pays homage to her ancestors.\u003c/p>\n\u003cp>That’s fitting, given the medium she’s chosen for her work: hand-coiled ceramic sculpture.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/kilns/\" target=\"_blank\" rel=\"noopener\">Paz\u003c/a> is an Oakland-based storyteller who uses ceramics as her canvas, on which she depicts themes of sexual harassment, the ongoing saga around immigration in the United States and more.\u003c/p>\n\u003cp>She takes modern-day subjects and uses an ancient art form to tell their story; handcrafting sculptures and then painting images and narratives on the outside of the objects. And through this, she not only sheds light on today’s problems and pays homage to her ancestors, but she also finds personal healing.\u003c/p>\n\u003cfigure id=\"attachment_13865387\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865387\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/image_from_ios-800x535.jpg\" alt=\"Maria Paz's work\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/image_from_ios-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/image_from_ios-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/image_from_ios-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/image_from_ios-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/image_from_ios-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/image_from_ios.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maria Paz’s work. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Paz was born in Chile, and after moving to Southern California as a child, she hadn’t visited her native country until earlier this year. As an undocumented resident of the United States, it wasn’t wise for her to leave. Prior to the trip, she completed the necessary arrangements to get her proper paperwork, but there was an issue in delivering her paperwork, so she was forced to spend some extra time in South America before everything got worked out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Back at home in Oakland, after experiencing firsthand the issues with immigration and documentation, Paz had yet another story tell—adding to the layers of work she puts into her hand-crafted sculptures.\u003c/p>\n\u003cp>In this week’s episode of Rightnowish, Paz speaks with me about her personal experience, the larger issues around immigration and honoring her ancestors. To hear all about it, click the link above.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And to hear Paz in-person, on Tuesday, Sept. 3, she’ll show her work and give an artist talk at \u003ca href=\"http://www.thepaintingsalon.com/\" target=\"_blank\" rel=\"noopener\">The Painting Salon\u003c/a>, at the Royal Nonesuch Gallery in Oakland, from 6:30-9pm. \u003ca href=\"http://www.thepaintingsalon.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On a summer day in San Francisco clear enough to see beyond the Golden Gate Bridge from the Presidio, I walked into the building at 100 Montgomery Street for an exhibition of photos taken from a particularly ugly time period in America’s history—during Japanese internment.\u003c/p>\n\u003cp>The exhibition, \u003cem>Then They Came For Me\u003c/em>, not only shows images from the mass roundup and internment of Japanese Americans during World War II, but also acknowledges the connection to the current day as the United States keeps thousands of people immigrating to the U.S. in facilities best described as concentration camps.\u003c/p>\n\u003cp>One of the people who sees that connection quite clearly is civil rights lawyer Don Tamaki, who guided me around the exhibition. His family lived through internment in the early 40s; he told how his father’s degree from UC Berkeley was mailed to a horse stable at the Tanforan Racetrack in San Bruno, where the family had been forced to live.\u003c/p>\n\u003cfigure id=\"attachment_13862296\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862296\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/LRG__DSC5754-800x535.jpg\" alt='Don Tamaki at the \"And Then They Came for Me\" exhibition' width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/LRG__DSC5754-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/LRG__DSC5754-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/LRG__DSC5754-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/LRG__DSC5754-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/LRG__DSC5754-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/LRG__DSC5754.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Don Tamaki at the ‘And Then They Came for Me’ exhibition. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Years later, informed by his family’s experience, Tamaki used his education to bring light to the wrongdoings of the U.S. government. He was a part of the team to reopen the landmark Supreme Court case \u003cem>Korematsu v. the United States\u003c/em>, and to help Fred Korematsu win exoneration for refusing to be interred due to his race.\u003c/p>\n\u003cp>As Tamaki and I walked and talked among the exhibition’s photos—the majority taken by \u003ca href=\"https://www.kqed.org/arts/13156032/once-suppressed-dorothea-lange-photographs-capture-wartime-paranoia\" target=\"_blank\" rel=\"noopener\">Dorothea Lange\u003c/a>—he pointed out their mostly Northern Californian locales. Tamaki noted how the Japanese Americans in the photos wore their “Sunday best,” in attempt to look like the dignified Americans they were. And he made it clear that while the events happened 75 years ago, it is still chillingly relevant to this day.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To hear this story, click the audio link above.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>‘Then They Came For Me’ runs through Sept. 1, 2019. \u003ca href=\"https://thentheycame.org/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[ad=fullwidth]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a summer day in San Francisco clear enough to see beyond the Golden Gate Bridge from the Presidio, I walked into the building at 100 Montgomery Street for an exhibition of photos taken from a particularly ugly time period in America’s history—during Japanese internment.\u003c/p>\n\u003cp>The exhibition, \u003cem>Then They Came For Me\u003c/em>, not only shows images from the mass roundup and internment of Japanese Americans during World War II, but also acknowledges the connection to the current day as the United States keeps thousands of people immigrating to the U.S. in facilities best described as concentration camps.\u003c/p>\n\u003cp>One of the people who sees that connection quite clearly is civil rights lawyer Don Tamaki, who guided me around the exhibition. His family lived through internment in the early 40s; he told how his father’s degree from UC Berkeley was mailed to a horse stable at the Tanforan Racetrack in San Bruno, where the family had been forced to live.\u003c/p>\n\u003cfigure id=\"attachment_13862296\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862296\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/LRG__DSC5754-800x535.jpg\" alt='Don Tamaki at the \"And Then They Came for Me\" exhibition' width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/LRG__DSC5754-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/LRG__DSC5754-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/LRG__DSC5754-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/LRG__DSC5754-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/LRG__DSC5754-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/LRG__DSC5754.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Don Tamaki at the ‘And Then They Came for Me’ exhibition. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Years later, informed by his family’s experience, Tamaki used his education to bring light to the wrongdoings of the U.S. government. He was a part of the team to reopen the landmark Supreme Court case \u003cem>Korematsu v. the United States\u003c/em>, and to help Fred Korematsu win exoneration for refusing to be interred due to his race.\u003c/p>\n\u003cp>As Tamaki and I walked and talked among the exhibition’s photos—the majority taken by \u003ca href=\"https://www.kqed.org/arts/13156032/once-suppressed-dorothea-lange-photographs-capture-wartime-paranoia\" target=\"_blank\" rel=\"noopener\">Dorothea Lange\u003c/a>—he pointed out their mostly Northern Californian locales. Tamaki noted how the Japanese Americans in the photos wore their “Sunday best,” in attempt to look like the dignified Americans they were. And he made it clear that while the events happened 75 years ago, it is still chillingly relevant to this day.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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},
"closealltabs": {
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"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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"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.",
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"source": "Commonwealth Club of California"
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"order": 9
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"meta": {
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"source": "WNYC"
},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"hidden-brain": {
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"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.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
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"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. ",
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"order": 15
},
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"jerrybrown": {
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"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",
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"order": 18
},
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},
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"id": "latino-usa",
"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"officialWebsiteLink": "http://latinousa.org/",
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"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"
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},
"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": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
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"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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"meta": {
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"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",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
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},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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