Artists Receive Settlements After Alleging Exploitation in Former Ghost Town
Tony Bennett, Masterful Stylist of American Song, Dies at 96
How to Celebrate Juneteenth 2023 in the Bay Area
For Many Artists, That $10K of Student Debt Relief is a Drop in the Bucket
A Russian Court Sentences WNBA Star Brittney Griner to 9 Years on Drug Charges
An Unlikely Form of Abortion Rights Protest: Crossword Puzzles
PHOTOS: The Soapbox Derby's Wild Downhill Action in San Francisco
Robert Durst, Real Estate Heir, Dies in Prison at 78
Betty White, a Beloved Icon and Actress Since the Beginning of TV, Has Died at Age 99
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In the years since, she’s branded Pulga as an intentional community of artists and enterprising “lady leaders,” running it as a business that rents cabins and hosts weddings and corporate retreats.\u003c/p>\n\u003cp>But in interviews with over a dozen former Pulga residents and workers, six people accused Cowley, 36, of refusing to pay them for their labor after they completed projects. Three former workers accused her of depriving them of food, and two said that she entered their private spaces while they were undressed. Many of these accusers are low-income artists from the Bay Area who came to Pulga after Cowley made offers of flexible work in a beautiful setting, and left feeling exploited and, in some cases, traumatized. [aside postid='arts_13922712' hero='https://ww2.kqed.org/app/uploads/sites/2/2022/12/unnamed-1020x574.jpg']\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13922712/pulga-betsy-ann-cowley-accusations-wage-theft-labor-airbnb-resort\">KQED first reported these allegations in December 2022\u003c/a> after two former workers filed \u003ca href=\"https://www.dir.ca.gov/dlse/howtofilewageclaim.htm\">wage claims with the California Labor Commissioner’s office\u003c/a>. After the story published, a third worker filed a wage claim. As of last month, Cowley paid all three of them settlements between $2,200 and $16,000, the workers said.\u003c/p>\n\u003cp>“I feel that economically, yes, I have justice, because I took a big personal risk doing this,” said architect Danny Wills, who arrived in Pulga in September 2021 to work as Cowley’s business manager with aspirations of expanding its arts programming. In his complaint to the state, he noted that his workload quickly snowballed from office duties to 12- and 14-hour days of manual labor for which he was never compensated. He also accused Cowley of failing to reimburse thousands of dollars of business expenses that he charged to his credit card.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I really trusted her and believed her,” Wills said. “And when she said, ‘You’re my friend as well’ — it’s like, friends don’t do what she did.” [pullquote size='large' citation='Michael Giedd, former friend of Betsy Cowley']‘I feel because she does it so predictably — you are preying on a marginalized group. Trying to be a working artist is really risky, and it’s very hand-to-mouth.’[/pullquote]\u003c/p>\n\u003cp>In interviews for KQED’s December 2022 story on Pulga, Cowley denied all wrongdoing and said her accusers only represent a handful of the 100 people who’ve worked and stayed on her property. “I am only trying to help people and provide a safe space,” she said last year. “And it’s amazing that people can say whatever they want to hurt somebody.”\u003c/p>\n\u003cp>Reached by phone about the wage settlements she recently paid to former workers, Cowley declined to comment further. She also offered no comment in response to a detailed list of emailed questions.\u003c/p>\n\u003cfigure id=\"attachment_13922727\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13922727\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/PulgaBridges.July2021.jpg\" alt=\"Two bridges span a river, surrounded by trees and mountains\" width=\"600\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/PulgaBridges.July2021.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/PulgaBridges.July2021-160x240.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">A Union Pacific train on the Pulga Bridge just outside the Town of Pulga in Butte County. \u003ccite>(Frank Schulenburg/CC 4.0)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘I was being gaslit’\u003c/h2>\n\u003cp>Wills filed his wage claim against Cowley last December. After he inputted his unpaid hours using the state’s online form, he received an official letter from the California Labor Commissioner’s Office that estimated his claim at $44,230.95.\u003c/p>\n\u003cp>Wills said he spent three months working overtime for Cowley in 2021. “I felt like I was being gaslit in a certain sense that I wasn’t even worth the money that I was asking for,” he reflected of his conversations with Cowley after she allegedly refused to pay him.\u003c/p>\n\u003cp>At Wills’ May 4 settlement conference, mediated by a deputy labor commissioner, Cowley brought a lawyer. Wills could not afford to do so and represented himself.\u003c/p>\n\u003cp>Cowley and Wills reached a settlement of $16,000. He received the final installment of his payments in July 2023, nearly two years after he left Pulga.\u003c/p>\n\u003cp>https://www.instagram.com/p/Cddg6KZjL01/\u003c/p>\n\u003cp>Two other workers, Sosha Young and Ricky Ybarra, filed wage claims against Cowley in September 2022. In June of that year, Cowley recruited Ybarra to Pulga after the chef had been laid off from Starline Social Club, the now-shuttered Oakland bar owned by Cowley’s then-husband Adam Hatch. Young, Ybarra’s girlfriend, soon followed him there to work as sous chef. The two agreed to design menus and cook for Cowley’s private-event services, which advertise bespoke offerings such as “farm-to-table catering.”\u003c/p>\n\u003cp>Young and Ybarra said they worked hundreds of unpaid additional hours cleaning Airbnb cabins, taking out garbage and running overnight security. They said Cowley derailed discussions about payment. They also detailed an incident in which she walked in on them while they were undressed and threw a $50 dollar bill at them, asking if they were “good” for their unpaid wages.\u003c/p>\n\u003cp>“She essentially began treating us like her personal indentured servants,” Young wrote in her complaint to the Labor Commissioner’s Office. After she and Ybarra filled out their unpaid hours, the Labor Commissioner’s Office estimated Ybarra’s wage claim as $25,610 and Young’s at $19,830.\u003c/p>\n\u003cp>Young and Ybarra ultimately settled with Cowley for a total of $5,500 — about 12% of their claim estimates. Cowley paid Young and Ybarra in February. “They got us to basically go down to the bare minimum [of] what you would pay an unskilled 15-year-old,” Young said, “not two people who have been industry professionals for 10 or 15 years a pop.”\u003c/p>\n\u003cp>Though Young and Ybarra only received a small fraction of their claim, “the biggest thing was being able to end it, because we found out that if we didn’t settle, then it would have taken two years to get a court date,” Young added.\u003c/p>\n\u003ch2>Accusations of ‘systematic’ abuse\u003c/h2>\n\u003cp>After KQED’s story ran in December 2022, an additional nine people contacted this newsroom to share negative experiences about working for, renting from or doing business with Cowley.\u003c/p>\n\u003cp>Michael Giedd, an Oakland artist, was friends with Cowley for approximately six years. Their relationship soured after she refused to pay him for a project he completed for her nearly 15 years ago, he said. In the time since, he said he’s heard from several other creatives who say that Cowley enticed them to Pulga with offers of work and then refused to pay once the jobs were completed.\u003c/p>\n\u003cp>“It’s been systematic to so many people that don’t know each other, but are similar types of people,” Giedd said. “They’re always someone trying to be creative, whether it’s a chef or a woodworker or a mural painter, whatever she needs.” [aside postid='arts_13857471']\u003c/p>\n\u003cp>“I feel because she does it so predictably — you are preying on a marginalized group,” he added. “Trying to be a working artist is really risky, and it’s very hand-to-mouth.”\u003c/p>\n\u003cp>Lenora Pritchard, who did demolition work for Cowley in a work-trade agreement in 2015, said she witnessed Cowley mistreat volunteers from the organization World Wide Opportunities on Organic Farms, or WWOOF. The organization pairs volunteers with hosts who are required to provide three meals a day and adequate shelter.\u003c/p>\n\u003cp>“She was barely feeding them. She was hardly housing them. She was abusive,” Pritchard said of her time at Pulga in 2015. A WWOOF volunteer who spent time in Pulga in April 2022 relayed similar accusations, adding that Cowley used the program \u003cspan style=\"font-weight: 400\">—\u003c/span> whose purpose is to provide educational opportunities in farm work \u003cspan style=\"font-weight: 400\">—\u003c/span> as free labor her Airbnb business, and assigned dangerous work such as handling fiberglass without proper safety equipment.\u003c/p>\n\u003cp>As for the artists who filed wage claims against Cowley, their ordeal in Pulga put them in dire financial predicaments. While pursuing settlements from September 2022 to February 2023, Young and Ybarra worked multiple jobs in order to secure permanent housing, pay off overdue bills and repair thousands of dollars in damage to their car incurred by work on Pulga’s rocky terrain, they said. (They’re now fundraising on \u003ca href=\"https://www.gofundme.com/f/ybarra-young-pulga-relief\">GoFundMe\u003c/a>.)\u003c/p>\n\u003cp>“To have your only job withhold two months of pay and then kick you out of your home — I don’t even know how to explain the severity of that,” Young said. “If we didn’t stay with my mom for a month, we would have been under a bridge in West Oakland or something, living in my car.”\u003c/p>\n\u003cp>“We’re still feeling the repercussions, a year later,” Ybarra said.\u003c/p>\n\u003ch2>Workers try to move on after Pulga\u003c/h2>\n\u003cp>Since paying the wage settlements, it’s unclear if Pulga is an active business. Cowley is no longer a WWOOF host, a representative of the organization confirmed via email. Her cabins are no longer listed on Airbnb. The Pulga social media accounts haven’t been updated since February.\u003c/p>\n\u003cp>But Pulga’s website still advertises cabins and venues for corporate retreats and weddings, with photos of guests dancing under the stars and floating down the Feather River. And Cowley’s two LLCs, Town of Pulga Management Company and TOP II, are still active.\u003c/p>\n\u003cp>The artists interviewed for this story worry that more people could be enticed by Pulga’s natural beauty and offers of flexible work. Unless one files a public records request, or navigates a hard-to-find \u003ca href=\"https://cadir.my.site.com/wcsearch/s/\">wage claim search tool\u003c/a> on the Labor Commissioner’s website, it’s difficult to ascertain whether a prospective employer has faced accusations of wage theft or other kinds of abuse.\u003c/p>\n\u003cp>Attorney Kim Ouillette of the nonprofit \u003ca href=\"https://legalaidatwork.org/\">Legal Aid at Work\u003c/a> says the Pulga workers’ stories are important because they show other laborers that they have recourse against non-paying employers. “It’s good for workers to know this process is out there. If you have not received your wages, you can file a claim. And even if you don’t have an attorney, you can file online,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13933345\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933345\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS66115_009_KQED_YYGrayBrickMortarMusicHall_05252023-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS66115_009_KQED_YYGrayBrickMortarMusicHall_05252023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS66115_009_KQED_YYGrayBrickMortarMusicHall_05252023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS66115_009_KQED_YYGrayBrickMortarMusicHall_05252023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS66115_009_KQED_YYGrayBrickMortarMusicHall_05252023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS66115_009_KQED_YYGrayBrickMortarMusicHall_05252023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS66115_009_KQED_YYGrayBrickMortarMusicHall_05252023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sosha Young, singer and guitarist, and Ricky Ybarra, on drums, play with their band YY Gray at Brick & Mortar Music Hall in San Francisco on May 25, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the former workers, the emotional scars of their ordeal have begun to fade. Wills has a career in teaching. In hindsight, he now sees how he and other artists get lured into abusive workplace dynamics. “It’s really tough as an artist to not give yourself away when you’re passionate about creative things,” he said. “But the ways that we were trying to get those passions fulfilled, we were meeting the wrong people.”\u003c/p>\n\u003cp>Young and Ybarra now play regular shows with their band YY Gray, where they have the last word with their song about Pulga, “\u003ca href=\"https://yygray.bandcamp.com/track/apocalypse-ranch\">Apocalypse Ranch\u003c/a>.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The rock ’n’ roll ballad begins with an invitation to an enticing new land, where “your dreams have a chance / everything’s provided.” By the second verse, the promise is good to be true: “It crumbles to the touch / every time,” Young sings.\u003c/p>\n\n","blocks":[],"excerpt":"After 'indentured servant' allegations, Pulga owner Betsy Cowley paid workers four- and five-figure settlements. ","status":"publish","parent":0,"modified":1705005139,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":35,"wordCount":1971},"headData":{"title":"Artists Receive Settlements After Alleging Exploitation in Former Ghost Town | KQED","description":"After 'indentured servant' allegations, Pulga owner Betsy Cowley paid workers four- and five-figure settlements. ","ogTitle":"","ogDescription":"","ogImgId":"arts_13933400","twTitle":"","twDescription":"","twImgId":"arts_13933400","socialTitle":"Artists Receive Settlements After Alleging Exploitation in Former Ghost Town %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Artists Receive Settlements After Alleging Exploitation in Former Ghost Town","datePublished":"2023-08-17T19:27:40.000Z","dateModified":"2024-01-11T20:32:19.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13933325/artists-wage-claims-pulga-ghost-town-california-betsy-ann-cowley","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The owner of a former ghost town has paid four- and five-figure settlements to three workers who filed wage claims with the California Labor Commissioner’s Office, the plaintiffs told KQED.\u003c/p>\n\u003cp>Betsy Ann Cowley, 36, purchased Pulga, a 64-acre wilderness property that once operated as a mining town near Chico, with the help of her stepfather in 2015. In the years since, she’s branded Pulga as an intentional community of artists and enterprising “lady leaders,” running it as a business that rents cabins and hosts weddings and corporate retreats.\u003c/p>\n\u003cp>But in interviews with over a dozen former Pulga residents and workers, six people accused Cowley, 36, of refusing to pay them for their labor after they completed projects. Three former workers accused her of depriving them of food, and two said that she entered their private spaces while they were undressed. Many of these accusers are low-income artists from the Bay Area who came to Pulga after Cowley made offers of flexible work in a beautiful setting, and left feeling exploited and, in some cases, traumatized. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13922712","hero":"https://ww2.kqed.org/app/uploads/sites/2/2022/12/unnamed-1020x574.jpg","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13922712/pulga-betsy-ann-cowley-accusations-wage-theft-labor-airbnb-resort\">KQED first reported these allegations in December 2022\u003c/a> after two former workers filed \u003ca href=\"https://www.dir.ca.gov/dlse/howtofilewageclaim.htm\">wage claims with the California Labor Commissioner’s office\u003c/a>. After the story published, a third worker filed a wage claim. As of last month, Cowley paid all three of them settlements between $2,200 and $16,000, the workers said.\u003c/p>\n\u003cp>“I feel that economically, yes, I have justice, because I took a big personal risk doing this,” said architect Danny Wills, who arrived in Pulga in September 2021 to work as Cowley’s business manager with aspirations of expanding its arts programming. In his complaint to the state, he noted that his workload quickly snowballed from office duties to 12- and 14-hour days of manual labor for which he was never compensated. He also accused Cowley of failing to reimburse thousands of dollars of business expenses that he charged to his credit card.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I really trusted her and believed her,” Wills said. “And when she said, ‘You’re my friend as well’ — it’s like, friends don’t do what she did.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘I feel because she does it so predictably — you are preying on a marginalized group. Trying to be a working artist is really risky, and it’s very hand-to-mouth.’","name":"pullquote","attributes":{"named":{"size":"large","citation":"Michael Giedd, former friend of Betsy Cowley","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In interviews for KQED’s December 2022 story on Pulga, Cowley denied all wrongdoing and said her accusers only represent a handful of the 100 people who’ve worked and stayed on her property. “I am only trying to help people and provide a safe space,” she said last year. “And it’s amazing that people can say whatever they want to hurt somebody.”\u003c/p>\n\u003cp>Reached by phone about the wage settlements she recently paid to former workers, Cowley declined to comment further. She also offered no comment in response to a detailed list of emailed questions.\u003c/p>\n\u003cfigure id=\"attachment_13922727\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13922727\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/PulgaBridges.July2021.jpg\" alt=\"Two bridges span a river, surrounded by trees and mountains\" width=\"600\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/PulgaBridges.July2021.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/PulgaBridges.July2021-160x240.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">A Union Pacific train on the Pulga Bridge just outside the Town of Pulga in Butte County. \u003ccite>(Frank Schulenburg/CC 4.0)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘I was being gaslit’\u003c/h2>\n\u003cp>Wills filed his wage claim against Cowley last December. After he inputted his unpaid hours using the state’s online form, he received an official letter from the California Labor Commissioner’s Office that estimated his claim at $44,230.95.\u003c/p>\n\u003cp>Wills said he spent three months working overtime for Cowley in 2021. “I felt like I was being gaslit in a certain sense that I wasn’t even worth the money that I was asking for,” he reflected of his conversations with Cowley after she allegedly refused to pay him.\u003c/p>\n\u003cp>At Wills’ May 4 settlement conference, mediated by a deputy labor commissioner, Cowley brought a lawyer. Wills could not afford to do so and represented himself.\u003c/p>\n\u003cp>Cowley and Wills reached a settlement of $16,000. He received the final installment of his payments in July 2023, nearly two years after he left Pulga.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"instagramLink","attributes":{"named":{"instagramId":"Cddg6KZjL01"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two other workers, Sosha Young and Ricky Ybarra, filed wage claims against Cowley in September 2022. In June of that year, Cowley recruited Ybarra to Pulga after the chef had been laid off from Starline Social Club, the now-shuttered Oakland bar owned by Cowley’s then-husband Adam Hatch. Young, Ybarra’s girlfriend, soon followed him there to work as sous chef. The two agreed to design menus and cook for Cowley’s private-event services, which advertise bespoke offerings such as “farm-to-table catering.”\u003c/p>\n\u003cp>Young and Ybarra said they worked hundreds of unpaid additional hours cleaning Airbnb cabins, taking out garbage and running overnight security. They said Cowley derailed discussions about payment. They also detailed an incident in which she walked in on them while they were undressed and threw a $50 dollar bill at them, asking if they were “good” for their unpaid wages.\u003c/p>\n\u003cp>“She essentially began treating us like her personal indentured servants,” Young wrote in her complaint to the Labor Commissioner’s Office. After she and Ybarra filled out their unpaid hours, the Labor Commissioner’s Office estimated Ybarra’s wage claim as $25,610 and Young’s at $19,830.\u003c/p>\n\u003cp>Young and Ybarra ultimately settled with Cowley for a total of $5,500 — about 12% of their claim estimates. Cowley paid Young and Ybarra in February. “They got us to basically go down to the bare minimum [of] what you would pay an unskilled 15-year-old,” Young said, “not two people who have been industry professionals for 10 or 15 years a pop.”\u003c/p>\n\u003cp>Though Young and Ybarra only received a small fraction of their claim, “the biggest thing was being able to end it, because we found out that if we didn’t settle, then it would have taken two years to get a court date,” Young added.\u003c/p>\n\u003ch2>Accusations of ‘systematic’ abuse\u003c/h2>\n\u003cp>After KQED’s story ran in December 2022, an additional nine people contacted this newsroom to share negative experiences about working for, renting from or doing business with Cowley.\u003c/p>\n\u003cp>Michael Giedd, an Oakland artist, was friends with Cowley for approximately six years. Their relationship soured after she refused to pay him for a project he completed for her nearly 15 years ago, he said. In the time since, he said he’s heard from several other creatives who say that Cowley enticed them to Pulga with offers of work and then refused to pay once the jobs were completed.\u003c/p>\n\u003cp>“It’s been systematic to so many people that don’t know each other, but are similar types of people,” Giedd said. “They’re always someone trying to be creative, whether it’s a chef or a woodworker or a mural painter, whatever she needs.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13857471","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I feel because she does it so predictably — you are preying on a marginalized group,” he added. “Trying to be a working artist is really risky, and it’s very hand-to-mouth.”\u003c/p>\n\u003cp>Lenora Pritchard, who did demolition work for Cowley in a work-trade agreement in 2015, said she witnessed Cowley mistreat volunteers from the organization World Wide Opportunities on Organic Farms, or WWOOF. The organization pairs volunteers with hosts who are required to provide three meals a day and adequate shelter.\u003c/p>\n\u003cp>“She was barely feeding them. She was hardly housing them. She was abusive,” Pritchard said of her time at Pulga in 2015. A WWOOF volunteer who spent time in Pulga in April 2022 relayed similar accusations, adding that Cowley used the program \u003cspan style=\"font-weight: 400\">—\u003c/span> whose purpose is to provide educational opportunities in farm work \u003cspan style=\"font-weight: 400\">—\u003c/span> as free labor her Airbnb business, and assigned dangerous work such as handling fiberglass without proper safety equipment.\u003c/p>\n\u003cp>As for the artists who filed wage claims against Cowley, their ordeal in Pulga put them in dire financial predicaments. While pursuing settlements from September 2022 to February 2023, Young and Ybarra worked multiple jobs in order to secure permanent housing, pay off overdue bills and repair thousands of dollars in damage to their car incurred by work on Pulga’s rocky terrain, they said. (They’re now fundraising on \u003ca href=\"https://www.gofundme.com/f/ybarra-young-pulga-relief\">GoFundMe\u003c/a>.)\u003c/p>\n\u003cp>“To have your only job withhold two months of pay and then kick you out of your home — I don’t even know how to explain the severity of that,” Young said. “If we didn’t stay with my mom for a month, we would have been under a bridge in West Oakland or something, living in my car.”\u003c/p>\n\u003cp>“We’re still feeling the repercussions, a year later,” Ybarra said.\u003c/p>\n\u003ch2>Workers try to move on after Pulga\u003c/h2>\n\u003cp>Since paying the wage settlements, it’s unclear if Pulga is an active business. Cowley is no longer a WWOOF host, a representative of the organization confirmed via email. Her cabins are no longer listed on Airbnb. The Pulga social media accounts haven’t been updated since February.\u003c/p>\n\u003cp>But Pulga’s website still advertises cabins and venues for corporate retreats and weddings, with photos of guests dancing under the stars and floating down the Feather River. And Cowley’s two LLCs, Town of Pulga Management Company and TOP II, are still active.\u003c/p>\n\u003cp>The artists interviewed for this story worry that more people could be enticed by Pulga’s natural beauty and offers of flexible work. Unless one files a public records request, or navigates a hard-to-find \u003ca href=\"https://cadir.my.site.com/wcsearch/s/\">wage claim search tool\u003c/a> on the Labor Commissioner’s website, it’s difficult to ascertain whether a prospective employer has faced accusations of wage theft or other kinds of abuse.\u003c/p>\n\u003cp>Attorney Kim Ouillette of the nonprofit \u003ca href=\"https://legalaidatwork.org/\">Legal Aid at Work\u003c/a> says the Pulga workers’ stories are important because they show other laborers that they have recourse against non-paying employers. “It’s good for workers to know this process is out there. If you have not received your wages, you can file a claim. And even if you don’t have an attorney, you can file online,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13933345\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933345\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS66115_009_KQED_YYGrayBrickMortarMusicHall_05252023-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS66115_009_KQED_YYGrayBrickMortarMusicHall_05252023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS66115_009_KQED_YYGrayBrickMortarMusicHall_05252023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS66115_009_KQED_YYGrayBrickMortarMusicHall_05252023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS66115_009_KQED_YYGrayBrickMortarMusicHall_05252023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS66115_009_KQED_YYGrayBrickMortarMusicHall_05252023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS66115_009_KQED_YYGrayBrickMortarMusicHall_05252023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sosha Young, singer and guitarist, and Ricky Ybarra, on drums, play with their band YY Gray at Brick & Mortar Music Hall in San Francisco on May 25, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the former workers, the emotional scars of their ordeal have begun to fade. Wills has a career in teaching. In hindsight, he now sees how he and other artists get lured into abusive workplace dynamics. “It’s really tough as an artist to not give yourself away when you’re passionate about creative things,” he said. “But the ways that we were trying to get those passions fulfilled, we were meeting the wrong people.”\u003c/p>\n\u003cp>Young and Ybarra now play regular shows with their band YY Gray, where they have the last word with their song about Pulga, “\u003ca href=\"https://yygray.bandcamp.com/track/apocalypse-ranch\">Apocalypse Ranch\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The rock ’n’ roll ballad begins with an invitation to an enticing new land, where “your dreams have a chance / everything’s provided.” By the second verse, the promise is good to be true: “It crumbles to the touch / every time,” Young sings.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13933325/artists-wage-claims-pulga-ghost-town-california-betsy-ann-cowley","authors":["11387"],"categories":["arts_1","arts_835","arts_69","arts_235"],"tags":["arts_10342","arts_10278","arts_746"],"featImg":"arts_13933400","label":"arts"},"arts_13931917":{"type":"posts","id":"arts_13931917","meta":{"index":"posts_1591205157","site":"arts","id":"13931917","score":null,"sort":[1689950330000]},"guestAuthors":[],"slug":"tony-bennett-dies-at-96","title":"Tony Bennett, Masterful Stylist of American Song, Dies at 96","publishDate":1689950330,"format":"standard","headTitle":"Tony Bennett, Masterful Stylist of American Song, Dies at 96 | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Tony Bennett, the eminent and timeless stylist whose devotion to classic American songs and knack for creating new standards such as “I Left My Heart In San Francisco” graced a decadeslong career that brought him admirers from Frank Sinatra to Lady Gaga, died Friday. He was 96, just two weeks short of his birthday.\u003c/p>\n\u003cp>Publicist Sylvia Weiner confirmed Bennett’s death to The Associated Press, saying he died in his hometown of New York. There was no specific cause, but Bennett had been diagnosed with Alzheimer’s disease in 2016.\u003c/p>\n\u003cp>The last of the great saloon singers of the mid-20th century, Bennett often said his lifelong ambition was to create “a hit catalog rather than hit records.” He released more than 70 albums, bringing him 19 competitive Grammys — all but two after he reached his 60s — and enjoyed deep and lasting affection from fans and fellow artists.\u003c/p>\n\u003cfigure id=\"attachment_13879120\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/GettyImages-106373428-e1587583661461.jpg\" alt=\"Tony Bennett performing in 2010.\" width=\"1920\" height=\"1217\" class=\"size-full wp-image-13879120\">\u003cfigcaption class=\"wp-caption-text\">Tony Bennett performing in 2010. \u003ccite>(BRENDAN SMIALOWSKI/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bennett didn’t tell his own story when performing; he let the music speak instead — the Gershwins and Cole Porter, Irving Berlin and Jerome Kern. Unlike his friend and mentor Sinatra, he would interpret a song rather than embody it.\u003c/p>\n\u003cp>If his singing and public life lacked the high drama of Sinatra’s, Bennett appealed with an easy, courtly manner and an uncommonly rich and durable voice — “A tenor who sings like a baritone,” he called himself — that made him a master of caressing a ballad or brightening an up-tempo number.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I enjoy entertaining the audience, making them forget their problems,” he told The Associated Press in 2006. “I think people … are touched if they hear something that’s sincere and honest and maybe has a little sense of humor. … I just like to make people feel good when I perform.”\u003c/p>\n\u003cp>Bennett was praised often by his peers, but never more meaningfully than by what Sinatra said in a 1965 Life magazine interview: “For my money, Tony Bennett is the best singer in the business. He excites me when I watch him. He moves me. He’s the singer who gets across what the composer has in mind, and probably a little more.”\u003c/p>\n\u003cfigure id=\"attachment_11936142\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/08/Bennett-Statue-IMG_3350-e1471283958629-800x486.jpg\" alt=\"Sculptor Bruce Wolfe and his model, singer Tony Bennett in Wolfe's Piedmont studio\" width=\"800\" height=\"486\" class=\"size-medium wp-image-11936142\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Bennett-Statue-IMG_3350-e1471283958629-800x486.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Bennett-Statue-IMG_3350-e1471283958629-400x243.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Bennett-Statue-IMG_3350-e1471283958629-768x466.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Bennett-Statue-IMG_3350-e1471283958629-1180x717.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Bennett-Statue-IMG_3350-e1471283958629-1920x1166.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Bennett-Statue-IMG_3350-e1471283958629-960x583.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sculptor Bruce Wolfe and his model, singer Tony Bennett, in Wolfe’s Piedmont studio. Wolfe created a statue to honor Tony Bennett in San Francisco. \u003ccite>(Courtesy of Bruce Wolfe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He not only survived the rise of rock music but endured so long and so well that he gained new fans and collaborators, some young enough to be his grandchildren. In 2014, at age 88, Bennett broke his own record as the oldest living performer with a No. 1 album on the Billboard 200 chart for “Cheek to Cheek,” his duets project with Lady Gaga. Three years earlier, he topped the charts with “Duets II,” featuring such contemporary stars as Gaga, Carrie Underwood and Amy Winehouse, in her last studio recording. His rapport with Winehouse was captured in the Oscar-nominated documentary “Amy,” which showed Bennett patiently encouraging the insecure young singer through a performance of “Body and Soul.”\u003c/p>\n\u003cp>His final album, the 2021 release “Love for Sale,” featured duets with Lady Gaga on the title track, “Night and Day” and other Porter songs.\u003c/p>\n\u003cp>For Bennett, one of the few performers to move easily between pop and jazz, such collaborations were part of his crusade to expose new audiences to what he called the Great American Songbook.\u003c/p>\n\u003cp>“No country has given the world such great music,” Bennett said in a 2015 interview with Downbeat Magazine. “Cole Porter, Irving Berlin, George Gershwin, Jerome Kern. Those songs will never die.”\u003c/p>\n\u003cp>[aside postID='arts_11928855']Ironically, his most famous contribution came through two unknowns, George Cory and Douglass Cross, who in the early ’60s provided Bennett with his signature song at a time his career was in a lull. They gave Bennett’s musical director, pianist Ralph Sharon, some sheet music that he stuck in a dresser drawer and forgot about until he was packing for a tour that included a stop in San Francisco.\u003c/p>\n\u003cp>“Ralph saw some sheet music in his shirt drawer … and on top of the pile was a song called ‘I Left My Heart In San Francisco.’ Ralph thought it would be good material for San Francisco,” Bennett said. “We were rehearsing and the bartender in the club in Little Rock, Arkansas, said, ‘If you record that song, I’m going to be the first to buy it.'”\u003c/p>\n\u003cp>Released in 1962 as the B-side of the single “Once Upon a Time,” the reflective ballad became a grassroots phenomenon staying on the charts for more than two years and earning Bennett his first two Grammys, including record of the year.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YSIF3KtwGUA\u003c/p>\n\u003cp>By his early 40s, he was seemingly out of fashion. But after turning 60, an age when even the most popular artists often settle for just pleasing their older fans, Bennett and his son and manager, Danny, found creative ways to market the singer to the MTV Generation. He made guest appearances on “Late Night with David Letterman” and became a celebrity guest artist on “The Simpsons.” He wore a black T-shirt and sunglasses as a presenter with the Red Hot Chili Peppers at the 1993 MTV Music Video Awards, and his own video of “Steppin’ Out With My Baby” from his Grammy-winning Fred Astaire tribute album ended up on MTV’s hip “Buzz Bin.”\u003c/p>\n\u003cp>That led to an offer in 1994 to do an episode of “MTV Unplugged” with special guests Elvis Costello and k.d. lang. The evening’s performance resulted in the album, “Tony Bennett: MTV Unplugged,” which won two Grammys, including album of the year.\u003c/p>\n\u003cp>Bennett would win Grammys for his tributes to female vocalists (“Here’s to the Ladies”), Billie Holiday (“Tony Bennett on Holiday”), and Duke Ellington (“Bennett Sings Ellington — Hot & Cool”). He also won Grammys for his collaborations with other singers: “Playin’ With My Friends — Bennett Sings the Blues,” and his Louis Armstrong tribute, “A Wonderful World” with lang, the first full album he had ever recorded with another singer. He celebrated his 80th birthday with “Duets: An American Classic,” featuring Barbra Streisand, Paul McCartney and Stevie Wonder among others.\u003c/p>\n\u003cp>“They’re all giants in the industry, and all of a sudden they’re saying to me ‘You’re the master,'” Bennett told the AP in 2006.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VLjXbkSm8B4\u003c/p>\n\u003cp>Long associated with San Francisco, Bennett would note that his true home was Astoria, the working-class community in the New York City borough of Queens, where he grew up during the Great Depression. The singer chose his old neighborhood as the site for the “Fame”-style public high school, the Frank Sinatra School of the Arts, that he and his third wife, Susan Crow Benedetto, a former teacher, helped found in 2001.\u003c/p>\n\u003cp>The school is not far from the birthplace of the man who was once Anthony Dominick Benedetto. His father was an Italian immigrant who inspired his love of singing, but he died when Anthony was 10. Bennett credited his mother, Anna, with teaching him a valuable lesson as he watched her working at home, supporting her three children as a seamstress doing piecework after his father died.\u003c/p>\n\u003cp>“We were very impoverished,” Bennett said in a 2016 AP interview. “I saw her working and every once in a while she’d take a dress and throw it over her shoulder and she’d say, ‘Don’t have me work on a bad dress. I’ll only work on good dresses.'”\u003c/p>\n\u003cfigure id=\"attachment_13931920\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/TonyBennett.astoria-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" class=\"size-medium wp-image-13931920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TonyBennett.astoria-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TonyBennett.astoria-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TonyBennett.astoria-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TonyBennett.astoria.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Tony Bennett’s album ‘Astoria: Portrait of the Artist,’ picturing the singer as a young man in front of his childhood home. \u003ccite>(Columbia Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He studied commercial art in high school, but had to drop out to help support his family. The teenager got a job as a copy boy for the AP, performed as a singing waiter and competed in amateur shows. A combat infantryman during World War II, he served as a librarian for the Armed Forces Network after the war and sang with an army big band in occupied Germany. His earliest recording is a 1946 air check from Armed Forces Radio of the blues “St. James Infirmary.”\u003c/p>\n\u003cp>Bennett took advantage of the GI Bill to attend the American Theater Wing, which later became The Actors Studio. His acting lessons helped him develop his phrasing and learn how to tell a story. He learned the more intimate Bel Canto vocal technique which helped him sustain and extend the expressive range of his voice. And he took to heart the advice of his vocal coach, Miriam Spier.\u003c/p>\n\u003cp>“She said please don’t imitate other singers because you’ll just be one of the chorus whoever you imitate whether it’s Bing Crosby or Frank Sinatra and won’t develop an original sound,” Bennett recalled in the 2006 AP interview. “She said imitate musicians that you like, find out how they phrase. I was particularly influenced by the jazz musicians like (pianist) Art Tatum and (saxophonists) Lester Young and Stan Getz.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=I5f-e3Wajq4\u003c/p>\n\u003cp>In 1947, Bennett made his first recording, the Gershwins’ standard “Fascinatin’ Rhythm” for a small label under the stage name Joe Bari. The following year he gained notice when he finished behind Rosemary Clooney on the radio show “Arthur Godfrey’s Talent Scouts.” Bennett’s big break came in 1949 when singer Pearl Bailey invited him to join her revue at a Greenwich Village club. Bob Hope dropped by one night and was so impressed that he offered the young singer a spot opening his shows at the famed Paramount Theater, where teens had swooned for Sinatra. But the comedian didn’t care for his stage name and thought his real name was too long for the marquee.\u003c/p>\n\u003cp>“He thought for a moment, then he said, ‘We’ll call you Tony Bennett,'” the singer wrote in his autobiography, “The Good Life,” published in 1998.\u003c/p>\n\u003cp>In 1950, Mitch Miller, the head of Columbia Records’ pop singles division, signed Bennett and released the single, “The Boulevard of Broken Dreams,” a semi-hit. Bennett was on the verge of being dropped from the label in 1951 when he had his first No. 1 on the pop charts with “Because of You.” More hits followed, including “Rags to Riches,” “Blue Velvet,” and Hank Williams’ “Cold, Cold Heart,” the first country song to become an international pop hit.\u003c/p>\n\u003cp>Bennett found himself frequently clashing with Miller, who pushed him to sing Sinatra-style ballads and gimmicky novelty songs. But Bennett took advantage of the young LP album format, starting in 1955 with “Cloud 7,” featuring a small jazz combo led by guitarist Chuck Wayne. Bennett reached out to the jazz audience with such innovative albums as the 1957 “The Beat of My Heart,” an album of standards that paired him with such jazz percussion masters as Chico Hamilton, and Art Blakey. He also became the first white male singer to record with the Count Basie Orchestra, releasing two albums in 1958. Sinatra would later do the same.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ll1cmbBrvlM\u003c/p>\n\u003cp>Bennett’s friendship with Black musicians and his disgust at the racial prejudice he encountered in the Army led him to become an active supporter of the Civil Rights Movement. He answered Harry Belafonte’s call to join Martin Luther King Jr.’s 1965 Selma-to-Montgomery voting rights march and perform for the protesters.\u003c/p>\n\u003cp>Bennett’s early career peaked in the 1960s as he topped the charts with “San Francisco” and became the first male pop solo performer to headline at Carnegie Hall, releasing a live album of the 1962 concert.\u003c/p>\n\u003cp>In 1966, he released “The Movie Song Album,” a personal favorite which featured Johnny Mandel’s Oscar-winning song “The Shadow of Your Smile” and “Maybe September,” the theme from the epic flop “The Oscar,” noteworthy because it marked Bennett’s first and only big-screen acting role.\u003c/p>\n\u003cp>But as rock continued to overtake traditional pop, he clashed with Columbia label head Clive Davis, who insisted that the singer do the 1970 album “Tony Sings the Great Hits of Today,” with such songs as “MacArthur Park” and “Little Green Apples.” Bennett left Columbia in 1972, and went on to form his own record label, Improv, which in 1975-76 produced two duet albums with the impressionistic pianist Bill Evans now considered jazz classics.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7LIW7q_cFeA\u003c/p>\n\u003cp>Despite artistic successes, Improv proved a financial disaster for Bennett, who also faced difficulties in his personal life. His marriage to artist Patricia Beech collapsed in 1971. He wed actress Sandra Grant the same year, but that marriage ended in 1984. With no recording deals, his debts brought him close to bankruptcy and the IRS was trying to seize his house in Los Angeles. After a near-fatal drug overdose in 1979, he turned to his son, Danny, who eventually signed on as his manager. Bennett kicked his drug habit and got his finances in order, moved back to New York and resumed doing more than 200 shows a year.\u003c/p>\n\u003cp>He is survived by his wife Susan, daughters Johanna and Antonia, sons Danny and Dae and nine grandchildren.\u003c/p>\n\u003cp>Bennett was named a Kennedy Center Honoree in 2005 and a National Endowment for the Arts Jazz Master in 2006. He also won two Emmy Awards — for “Tony Bennett Live By Request: A Valentine Special” (1996) and “Tony Bennett: An American Classic” (2007).\u003c/p>\n\u003cp>Besides singing, Bennett pursued his lifelong passion for painting by taking art lessons and bringing his sketchbook on the road. His paintings, signed with his family name Benedetto — including portraits of his musician friends and Central Park landscapes — were displayed in public and private collections, including the Smithsonian Museum of American Art.\u003c/p>\n\u003cp>“I love to paint as much as I love to sing,” Bennett told the AP in 2006. “It worked out to be such a blessing in my life because if I started getting burnt-out singing … I would go to my painting and that’s a big lift. … So I stay in this creative zone all the time.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>AP National Writer Hillel Italie contributed to this story.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The matchless interpreter of jazz standards that Frank Sinatra called 'the best singer in the business' died in New York.","status":"publish","parent":0,"modified":1705005249,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":40,"wordCount":2565},"headData":{"title":"Tony Bennett, Masterful Stylist of American Song, Dies at 96 | KQED","description":"The matchless interpreter of jazz standards that Frank Sinatra called 'the best singer in the business' died in New York.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Tony Bennett, Masterful Stylist of American Song, Dies at 96","datePublished":"2023-07-21T14:38:50.000Z","dateModified":"2024-01-11T20:34:09.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Charles J. Gans","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13931917/tony-bennett-dies-at-96","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tony Bennett, the eminent and timeless stylist whose devotion to classic American songs and knack for creating new standards such as “I Left My Heart In San Francisco” graced a decadeslong career that brought him admirers from Frank Sinatra to Lady Gaga, died Friday. He was 96, just two weeks short of his birthday.\u003c/p>\n\u003cp>Publicist Sylvia Weiner confirmed Bennett’s death to The Associated Press, saying he died in his hometown of New York. There was no specific cause, but Bennett had been diagnosed with Alzheimer’s disease in 2016.\u003c/p>\n\u003cp>The last of the great saloon singers of the mid-20th century, Bennett often said his lifelong ambition was to create “a hit catalog rather than hit records.” He released more than 70 albums, bringing him 19 competitive Grammys — all but two after he reached his 60s — and enjoyed deep and lasting affection from fans and fellow artists.\u003c/p>\n\u003cfigure id=\"attachment_13879120\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/GettyImages-106373428-e1587583661461.jpg\" alt=\"Tony Bennett performing in 2010.\" width=\"1920\" height=\"1217\" class=\"size-full wp-image-13879120\">\u003cfigcaption class=\"wp-caption-text\">Tony Bennett performing in 2010. \u003ccite>(BRENDAN SMIALOWSKI/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bennett didn’t tell his own story when performing; he let the music speak instead — the Gershwins and Cole Porter, Irving Berlin and Jerome Kern. Unlike his friend and mentor Sinatra, he would interpret a song rather than embody it.\u003c/p>\n\u003cp>If his singing and public life lacked the high drama of Sinatra’s, Bennett appealed with an easy, courtly manner and an uncommonly rich and durable voice — “A tenor who sings like a baritone,” he called himself — that made him a master of caressing a ballad or brightening an up-tempo number.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I enjoy entertaining the audience, making them forget their problems,” he told The Associated Press in 2006. “I think people … are touched if they hear something that’s sincere and honest and maybe has a little sense of humor. … I just like to make people feel good when I perform.”\u003c/p>\n\u003cp>Bennett was praised often by his peers, but never more meaningfully than by what Sinatra said in a 1965 Life magazine interview: “For my money, Tony Bennett is the best singer in the business. He excites me when I watch him. He moves me. He’s the singer who gets across what the composer has in mind, and probably a little more.”\u003c/p>\n\u003cfigure id=\"attachment_11936142\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/08/Bennett-Statue-IMG_3350-e1471283958629-800x486.jpg\" alt=\"Sculptor Bruce Wolfe and his model, singer Tony Bennett in Wolfe's Piedmont studio\" width=\"800\" height=\"486\" class=\"size-medium wp-image-11936142\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Bennett-Statue-IMG_3350-e1471283958629-800x486.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Bennett-Statue-IMG_3350-e1471283958629-400x243.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Bennett-Statue-IMG_3350-e1471283958629-768x466.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Bennett-Statue-IMG_3350-e1471283958629-1180x717.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Bennett-Statue-IMG_3350-e1471283958629-1920x1166.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Bennett-Statue-IMG_3350-e1471283958629-960x583.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sculptor Bruce Wolfe and his model, singer Tony Bennett, in Wolfe’s Piedmont studio. Wolfe created a statue to honor Tony Bennett in San Francisco. \u003ccite>(Courtesy of Bruce Wolfe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He not only survived the rise of rock music but endured so long and so well that he gained new fans and collaborators, some young enough to be his grandchildren. In 2014, at age 88, Bennett broke his own record as the oldest living performer with a No. 1 album on the Billboard 200 chart for “Cheek to Cheek,” his duets project with Lady Gaga. Three years earlier, he topped the charts with “Duets II,” featuring such contemporary stars as Gaga, Carrie Underwood and Amy Winehouse, in her last studio recording. His rapport with Winehouse was captured in the Oscar-nominated documentary “Amy,” which showed Bennett patiently encouraging the insecure young singer through a performance of “Body and Soul.”\u003c/p>\n\u003cp>His final album, the 2021 release “Love for Sale,” featured duets with Lady Gaga on the title track, “Night and Day” and other Porter songs.\u003c/p>\n\u003cp>For Bennett, one of the few performers to move easily between pop and jazz, such collaborations were part of his crusade to expose new audiences to what he called the Great American Songbook.\u003c/p>\n\u003cp>“No country has given the world such great music,” Bennett said in a 2015 interview with Downbeat Magazine. “Cole Porter, Irving Berlin, George Gershwin, Jerome Kern. Those songs will never die.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_11928855","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Ironically, his most famous contribution came through two unknowns, George Cory and Douglass Cross, who in the early ’60s provided Bennett with his signature song at a time his career was in a lull. They gave Bennett’s musical director, pianist Ralph Sharon, some sheet music that he stuck in a dresser drawer and forgot about until he was packing for a tour that included a stop in San Francisco.\u003c/p>\n\u003cp>“Ralph saw some sheet music in his shirt drawer … and on top of the pile was a song called ‘I Left My Heart In San Francisco.’ Ralph thought it would be good material for San Francisco,” Bennett said. “We were rehearsing and the bartender in the club in Little Rock, Arkansas, said, ‘If you record that song, I’m going to be the first to buy it.'”\u003c/p>\n\u003cp>Released in 1962 as the B-side of the single “Once Upon a Time,” the reflective ballad became a grassroots phenomenon staying on the charts for more than two years and earning Bennett his first two Grammys, including record of the year.\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/YSIF3KtwGUA'\n title='//www.youtube.com/embed/YSIF3KtwGUA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>By his early 40s, he was seemingly out of fashion. But after turning 60, an age when even the most popular artists often settle for just pleasing their older fans, Bennett and his son and manager, Danny, found creative ways to market the singer to the MTV Generation. He made guest appearances on “Late Night with David Letterman” and became a celebrity guest artist on “The Simpsons.” He wore a black T-shirt and sunglasses as a presenter with the Red Hot Chili Peppers at the 1993 MTV Music Video Awards, and his own video of “Steppin’ Out With My Baby” from his Grammy-winning Fred Astaire tribute album ended up on MTV’s hip “Buzz Bin.”\u003c/p>\n\u003cp>That led to an offer in 1994 to do an episode of “MTV Unplugged” with special guests Elvis Costello and k.d. lang. The evening’s performance resulted in the album, “Tony Bennett: MTV Unplugged,” which won two Grammys, including album of the year.\u003c/p>\n\u003cp>Bennett would win Grammys for his tributes to female vocalists (“Here’s to the Ladies”), Billie Holiday (“Tony Bennett on Holiday”), and Duke Ellington (“Bennett Sings Ellington — Hot & Cool”). He also won Grammys for his collaborations with other singers: “Playin’ With My Friends — Bennett Sings the Blues,” and his Louis Armstrong tribute, “A Wonderful World” with lang, the first full album he had ever recorded with another singer. He celebrated his 80th birthday with “Duets: An American Classic,” featuring Barbra Streisand, Paul McCartney and Stevie Wonder among others.\u003c/p>\n\u003cp>“They’re all giants in the industry, and all of a sudden they’re saying to me ‘You’re the master,'” Bennett told the AP in 2006.\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/VLjXbkSm8B4'\n title='//www.youtube.com/embed/VLjXbkSm8B4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Long associated with San Francisco, Bennett would note that his true home was Astoria, the working-class community in the New York City borough of Queens, where he grew up during the Great Depression. The singer chose his old neighborhood as the site for the “Fame”-style public high school, the Frank Sinatra School of the Arts, that he and his third wife, Susan Crow Benedetto, a former teacher, helped found in 2001.\u003c/p>\n\u003cp>The school is not far from the birthplace of the man who was once Anthony Dominick Benedetto. His father was an Italian immigrant who inspired his love of singing, but he died when Anthony was 10. Bennett credited his mother, Anna, with teaching him a valuable lesson as he watched her working at home, supporting her three children as a seamstress doing piecework after his father died.\u003c/p>\n\u003cp>“We were very impoverished,” Bennett said in a 2016 AP interview. “I saw her working and every once in a while she’d take a dress and throw it over her shoulder and she’d say, ‘Don’t have me work on a bad dress. I’ll only work on good dresses.'”\u003c/p>\n\u003cfigure id=\"attachment_13931920\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/TonyBennett.astoria-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" class=\"size-medium wp-image-13931920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TonyBennett.astoria-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TonyBennett.astoria-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TonyBennett.astoria-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/TonyBennett.astoria.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Tony Bennett’s album ‘Astoria: Portrait of the Artist,’ picturing the singer as a young man in front of his childhood home. \u003ccite>(Columbia Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He studied commercial art in high school, but had to drop out to help support his family. The teenager got a job as a copy boy for the AP, performed as a singing waiter and competed in amateur shows. A combat infantryman during World War II, he served as a librarian for the Armed Forces Network after the war and sang with an army big band in occupied Germany. His earliest recording is a 1946 air check from Armed Forces Radio of the blues “St. James Infirmary.”\u003c/p>\n\u003cp>Bennett took advantage of the GI Bill to attend the American Theater Wing, which later became The Actors Studio. His acting lessons helped him develop his phrasing and learn how to tell a story. He learned the more intimate Bel Canto vocal technique which helped him sustain and extend the expressive range of his voice. And he took to heart the advice of his vocal coach, Miriam Spier.\u003c/p>\n\u003cp>“She said please don’t imitate other singers because you’ll just be one of the chorus whoever you imitate whether it’s Bing Crosby or Frank Sinatra and won’t develop an original sound,” Bennett recalled in the 2006 AP interview. “She said imitate musicians that you like, find out how they phrase. I was particularly influenced by the jazz musicians like (pianist) Art Tatum and (saxophonists) Lester Young and Stan Getz.”\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/I5f-e3Wajq4'\n title='//www.youtube.com/embed/I5f-e3Wajq4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 1947, Bennett made his first recording, the Gershwins’ standard “Fascinatin’ Rhythm” for a small label under the stage name Joe Bari. The following year he gained notice when he finished behind Rosemary Clooney on the radio show “Arthur Godfrey’s Talent Scouts.” Bennett’s big break came in 1949 when singer Pearl Bailey invited him to join her revue at a Greenwich Village club. Bob Hope dropped by one night and was so impressed that he offered the young singer a spot opening his shows at the famed Paramount Theater, where teens had swooned for Sinatra. But the comedian didn’t care for his stage name and thought his real name was too long for the marquee.\u003c/p>\n\u003cp>“He thought for a moment, then he said, ‘We’ll call you Tony Bennett,'” the singer wrote in his autobiography, “The Good Life,” published in 1998.\u003c/p>\n\u003cp>In 1950, Mitch Miller, the head of Columbia Records’ pop singles division, signed Bennett and released the single, “The Boulevard of Broken Dreams,” a semi-hit. Bennett was on the verge of being dropped from the label in 1951 when he had his first No. 1 on the pop charts with “Because of You.” More hits followed, including “Rags to Riches,” “Blue Velvet,” and Hank Williams’ “Cold, Cold Heart,” the first country song to become an international pop hit.\u003c/p>\n\u003cp>Bennett found himself frequently clashing with Miller, who pushed him to sing Sinatra-style ballads and gimmicky novelty songs. But Bennett took advantage of the young LP album format, starting in 1955 with “Cloud 7,” featuring a small jazz combo led by guitarist Chuck Wayne. Bennett reached out to the jazz audience with such innovative albums as the 1957 “The Beat of My Heart,” an album of standards that paired him with such jazz percussion masters as Chico Hamilton, and Art Blakey. He also became the first white male singer to record with the Count Basie Orchestra, releasing two albums in 1958. Sinatra would later do the same.\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/Ll1cmbBrvlM'\n title='//www.youtube.com/embed/Ll1cmbBrvlM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Bennett’s friendship with Black musicians and his disgust at the racial prejudice he encountered in the Army led him to become an active supporter of the Civil Rights Movement. He answered Harry Belafonte’s call to join Martin Luther King Jr.’s 1965 Selma-to-Montgomery voting rights march and perform for the protesters.\u003c/p>\n\u003cp>Bennett’s early career peaked in the 1960s as he topped the charts with “San Francisco” and became the first male pop solo performer to headline at Carnegie Hall, releasing a live album of the 1962 concert.\u003c/p>\n\u003cp>In 1966, he released “The Movie Song Album,” a personal favorite which featured Johnny Mandel’s Oscar-winning song “The Shadow of Your Smile” and “Maybe September,” the theme from the epic flop “The Oscar,” noteworthy because it marked Bennett’s first and only big-screen acting role.\u003c/p>\n\u003cp>But as rock continued to overtake traditional pop, he clashed with Columbia label head Clive Davis, who insisted that the singer do the 1970 album “Tony Sings the Great Hits of Today,” with such songs as “MacArthur Park” and “Little Green Apples.” Bennett left Columbia in 1972, and went on to form his own record label, Improv, which in 1975-76 produced two duet albums with the impressionistic pianist Bill Evans now considered jazz classics.\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/7LIW7q_cFeA'\n title='//www.youtube.com/embed/7LIW7q_cFeA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Despite artistic successes, Improv proved a financial disaster for Bennett, who also faced difficulties in his personal life. His marriage to artist Patricia Beech collapsed in 1971. He wed actress Sandra Grant the same year, but that marriage ended in 1984. With no recording deals, his debts brought him close to bankruptcy and the IRS was trying to seize his house in Los Angeles. After a near-fatal drug overdose in 1979, he turned to his son, Danny, who eventually signed on as his manager. Bennett kicked his drug habit and got his finances in order, moved back to New York and resumed doing more than 200 shows a year.\u003c/p>\n\u003cp>He is survived by his wife Susan, daughters Johanna and Antonia, sons Danny and Dae and nine grandchildren.\u003c/p>\n\u003cp>Bennett was named a Kennedy Center Honoree in 2005 and a National Endowment for the Arts Jazz Master in 2006. He also won two Emmy Awards — for “Tony Bennett Live By Request: A Valentine Special” (1996) and “Tony Bennett: An American Classic” (2007).\u003c/p>\n\u003cp>Besides singing, Bennett pursued his lifelong passion for painting by taking art lessons and bringing his sketchbook on the road. His paintings, signed with his family name Benedetto — including portraits of his musician friends and Central Park landscapes — were displayed in public and private collections, including the Smithsonian Museum of American Art.\u003c/p>\n\u003cp>“I love to paint as much as I love to sing,” Bennett told the AP in 2006. “It worked out to be such a blessing in my life because if I started getting burnt-out singing … I would go to my painting and that’s a big lift. … So I stay in this creative zone all the time.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>AP National Writer Hillel Italie contributed to this story.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13931917/tony-bennett-dies-at-96","authors":["byline_arts_13931917"],"categories":["arts_1","arts_69","arts_235"],"tags":["arts_11374","arts_10278","arts_10422","arts_1420","arts_746","arts_1091"],"featImg":"arts_13892049","label":"arts"},"arts_13930119":{"type":"posts","id":"arts_13930119","meta":{"index":"posts_1591205157","site":"arts","id":"13930119","score":null,"sort":[1686150039000]},"guestAuthors":[],"slug":"how-to-celebrate-juneteenth-2023-in-the-bay-area","title":"How to Celebrate Juneteenth 2023 in the Bay Area","publishDate":1686150039,"format":"aside","headTitle":"How to Celebrate Juneteenth 2023 in the Bay Area | KQED","labelTerm":{},"content":"\u003cp>This year’s roundup of Juneteenth events celebrates the communities and organizations forging unity through education, technology, art, dance and music — highlighting joyful local traditions as well as innovative new projects and spaces honoring Black freedom.\u003c/p>\n\u003cfigure id=\"attachment_13930153\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Juneteenth-on-the-Waterfront-credit-Foodwise-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930153\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Juneteenth-on-the-Waterfront-credit-Foodwise-800x533.jpg\" alt=\"people at an outdoor farmers' market against a blue sky in San Francisco\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Juneteenth-on-the-Waterfront-credit-Foodwise-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Juneteenth-on-the-Waterfront-credit-Foodwise-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Juneteenth-on-the-Waterfront-credit-Foodwise-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Juneteenth-on-the-Waterfront-credit-Foodwise-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Juneteenth-on-the-Waterfront-credit-Foodwise-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Juneteenth-on-the-Waterfront-credit-Foodwise-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Juneteenth-on-the-Waterfront-credit-Foodwise-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Attendees explore different Black-owned food businesses at Juneteenth on the Waterfront, an annual pop-up event at the Embarcadero Ferry Terminal Plaza in San Francisco. \u003ccite>(Courtesy of Foodwise)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://foodwise.org/events/pop-ups-on-the-plaza-juneteenth-on-the-waterfront/\">Juneteenth on the Waterfront\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>June 10\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Embarcadero Ferry Terminal Plaza, San Francisco\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>The weekend farmers’ market trip was something I delighted in as a kid. It was a chance for me and my brother to explore new scents and foods, happening upon morsels we’d never have at home. Here, the magic was in the search.\u003c/p>\n\u003cp>Juneteenth on the Waterfront provides this familiar wonder, with a focus on uplifting and highlighting local Black-owned businesses. Organized by \u003ca href=\"https://www.instagram.com/foodwise/\">Foodwise\u003c/a>, a nonprofit that manages farmers markets and education programs rooted in food equity and sustainability, the event features 15 Black-owned pop-up vendors selling hearty meals, desserts and drinks. Now in its third year, Juneteenth on the Waterfront will also be debuting a craft market, where several Black creators will be selling accessories, attire, skincare and more.\u003c/p>\n\u003cp>There will also be a Black Chefs and Wine Makers talk, where a panel of restaurateurs and sommeliers that includes \u003ca href=\"https://www.instagram.com/mstanyaholland/?hl=en\">chef Tanya Holland\u003c/a> will discuss the history of Black farmers and food migration to California.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PIolFf_j3AE\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">..\u003c/span>\u003c/p>\n\u003ch3>\u003ca href=\"https://www.oigc.org/news/2023-juneteenth-concert-series\">Oakland Interfaith Gospel Choir Juneteenth Concert Series\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>June 16, Freight & Salvage, Berkeley; June 23, Bankhead Theater, Livermore; June 25, \u003c/em>\u003cem>Great American Music Hall, San Francisco \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>With the aim to connect people through Black gospel music, local minister and composer Terrance Kelly founded the Oakland Interfaith Gospel Choir in 1986. In this upcoming three-part concert series, the passionate and diverse choir will perform songs that highlight the significance of gospel music to African American identity and history. Each performance is dynamic — rarely are the choir members static. They sing with exuberance, dancing as they harmonize through numbers that explore both historical and contemporary gospel styles.\u003c/p>\n\u003cp>The choir will perform at \u003ca href=\"https://thefreight.org/\">Freight & Salvage\u003c/a> in Berkeley on June 16, \u003ca href=\"https://livermorearts.org/\">Bankhead Theater\u003c/a> in Livermore on June 23 and \u003ca href=\"https://gamh.com/\">Great American Music Hall\u003c/a> in San Francisco on June 25. Tickets range from $22–30; \u003ca href=\"https://www.oigc.org/tickets\">more info here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13930155\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/2022-Afrocentric-Oakland-Nate-King.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930155\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/2022-Afrocentric-Oakland-Nate-King-800x534.jpg\" alt=\"attendees dance together at an outdoor Black music and culture festival\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2022-Afrocentric-Oakland-Nate-King-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2022-Afrocentric-Oakland-Nate-King-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2022-Afrocentric-Oakland-Nate-King-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2022-Afrocentric-Oakland-Nate-King-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2022-Afrocentric-Oakland-Nate-King-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2022-Afrocentric-Oakland-Nate-King-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2022-Afrocentric-Oakland-Nate-King.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Attendees dance together at the 2022 Afrocentric Oakland’s Juneteenth Festival at Lake Merritt. \u003ccite>(Nate King)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.eventbrite.com/e/fam-bam-oaklands-14th-annual-juneteenth-festival-registration-596989340187\">Afrocentric Oakland’s 14th Annual Juneteenth Festival\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>June 17\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Lake Merritt Amphitheater, Oakland\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/afrocentricoakland/\">Afrocentric Oakland\u003c/a>’s beloved yearly Juneteenth Festival returns on June 17 with an array of live music performances, vendors, art installations and other activities. This large-scale event draws in eager crowds every year, with attendees in their breeziest outfits coming together to sing, dance and celebrate freedom. This year’s festival will be headlined by Vallejo rapper \u003ca href=\"https://www.instagram.com/larussell/\">LaRussell\u003c/a> and hosted by writer and poet \u003ca href=\"https://www.instagram.com/prenticepowell1906/\">Prentice Powell\u003c/a>, comedian \u003ca href=\"https://www.instagram.com/jayrich510/\">J. Rich\u003c/a> and artist-activist \u003ca href=\"https://www.instagram.com/msryannicole/\">RyanNicole\u003c/a>. General admission tickets are $25.\u003c/p>\n\u003cfigure id=\"attachment_13930156\" class=\"wp-caption aligncenter\" style=\"max-width: 528px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/C-Notes-at-MoAD-Community-Day-cred_-MoAD-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13930156\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/C-Notes-at-MoAD-Community-Day-cred_-MoAD-800x533.jpg\" alt=\"a musical group of seven people dressed in black and white, most of them with Afros, pose while holding instruments and smiling\" width=\"528\" height=\"352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/C-Notes-at-MoAD-Community-Day-cred_-MoAD-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/C-Notes-at-MoAD-Community-Day-cred_-MoAD-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/C-Notes-at-MoAD-Community-Day-cred_-MoAD-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/C-Notes-at-MoAD-Community-Day-cred_-MoAD-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/C-Notes-at-MoAD-Community-Day-cred_-MoAD-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/C-Notes-at-MoAD-Community-Day-cred_-MoAD-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/C-Notes-at-MoAD-Community-Day-cred_-MoAD-1920x1280.jpg 1920w\" sizes=\"(max-width: 528px) 100vw, 528px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Curtis Family C-notes will be performing at MoAD’s free community day. \u003ccite>(Courtesy of MoAD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.moadsf.org/event/free-community-day-celebrate-juneteenth\">Free Community Day at MoAD\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>June 17\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Museum of the African Diaspora, San Francisco\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>As part of its Juneteenth celebration, the \u003ca href=\"https://www.moadsf.org/\">Museum of the African Diaspora\u003c/a> will offer free admission to its current exhibitions and a variety of events from 11 a.m. to 6 p.m. These include a conversation between Oakland librarian and writer \u003ca href=\"https://dorothylazard.com/\">Dorothy Lazard\u003c/a> and KQED’s own \u003ca href=\"https://www.kqed.org/author/ogpenn\">Pendarvis Harshaw\u003c/a>; a family art workshop with the museum’s teaching artists; and musical performances by \u003ca href=\"https://www.instagram.com/thecurtisfamilycnotes/?hl=en\">The Curtis Family C-notes\u003c/a> and faculty from the \u003ca href=\"https://sfcmc.org/adults/group-classes-and-ensembles/black-music-studies-program/\">San Francisco Community Music Center’s Black Music Studies program\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13930158\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-1321982884.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930158\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-1321982884-800x502.jpg\" alt=\"a group of joyous young Black girls in colorful shirts dance in the street as part of a parade \" width=\"800\" height=\"502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1321982884-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1321982884-1020x640.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1321982884-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1321982884-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1321982884.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Children dance as the Juneteenth parade rolls through the Fillmore District in 2014. The event celebrates the abolition of slavery in the U.S. \u003ccite>(Michael Macor/The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://juneteenth-sf.org/\">Juneteenth SF Freedom Celebration\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>June 17\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>1330 Fillmore St., San Francisco\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Spread throughout eight blocks of the Fillmore District — a historic neighborhood that became an epicenter for a thriving Black arts, music and entertainment scene in the 1940s — the Juneteenth SF Freedom Celebration will host thousands in its wide-ranging festivities. The event will be divided into six “districts” that include live performances, food, community and family-oriented games and rides, a classic car show and a hair and fashion show. Equipped with a carnival ride and ferris wheel, the festival both embodies the quintessential summer fair and centers the rich traditions of Black culture and history.\u003c/p>\n\u003cp>The event runs from 11 a.m. to 6 p.m. and admission is free. \u003ca href=\"https://www.eventbrite.com/e/juneteenth-festival-fillmore-sf-live-music-kids-zone-fashion-free-rsvp-tickets-616663736837\">More information here\u003c/a>.\u003c/p>\n\u003ch3>\u003ca href=\"https://www.ci.richmond.ca.us/CivicAlerts.aspx?AID=2296\">Juneteenth in Richmond \u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>June 17\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Nicholl Park, Richmond\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>The centerpiece for Richmond’s Juneteenth celebrations is its lively annual parade: a joyous procession made up of the city’s local leaders, youth groups and community organizations. The parade begins at 10 a.m. at the \u003ca href=\"https://www.ci.richmond.ca.us/2177/Booker-T-Anderson\">Booker T. Anderson Center\u003c/a> and will be followed by an 11 a.m. festival that includes live music, family activities and more.\u003c/p>\n\u003cfigure id=\"attachment_13930167\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/2019-Vallejo-Juneteenth-Angela-Jones-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930167\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/2019-Vallejo-Juneteenth-Angela-Jones-800x450.jpg\" alt=\"two people, seen from the back, look at bracelets at a vendor's stand\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2019-Vallejo-Juneteenth-Angela-Jones-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2019-Vallejo-Juneteenth-Angela-Jones-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2019-Vallejo-Juneteenth-Angela-Jones-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2019-Vallejo-Juneteenth-Angela-Jones-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2019-Vallejo-Juneteenth-Angela-Jones-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2019-Vallejo-Juneteenth-Angela-Jones-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2019-Vallejo-Juneteenth-Angela-Jones-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">People browse a vendor’s wares at the 2019 Vallejo Juneteenth Festival. \u003ccite>(Angela Jones)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://vallejojuneteenth.com/\">Vallejo Juneteenth Festival and Parade\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>June 17\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>301 Mare Island Way, Vallejo\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Returning for its 33rd year, the Vallejo Juneteenth Festival will kick off with a parade at 9 a.m. before attendees are invited to wander among vendor booths, groove to live music and learn about local organizations and resources related to health and wellness, education, small business development and more.\u003c/p>\n\u003cfigure id=\"attachment_13930168\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/2018-Berkeley-Juneteenth-Malaika-Kabon.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930168\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/2018-Berkeley-Juneteenth-Malaika-Kabon-800x600.jpg\" alt=\"three adorable little Black girls hold balloon animals and wear stickers that read 'I heart being Black' at a festival\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2018-Berkeley-Juneteenth-Malaika-Kabon-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2018-Berkeley-Juneteenth-Malaika-Kabon-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2018-Berkeley-Juneteenth-Malaika-Kabon-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2018-Berkeley-Juneteenth-Malaika-Kabon-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2018-Berkeley-Juneteenth-Malaika-Kabon.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Young community members celebrate at the 2018 Berkeley Juneteenth Festival. \u003ccite>(Malaika Kabon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://berkeleyjuneteenth.org/festival-2023/\">36th Annual Berkeley Juneteenth Festival\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>June 18\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Adeline and Alcatraz, Berkeley\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>The longstanding Berkeley Juneteenth Festival returns with vendors and musical performances that include Oakland jazz artist \u003ca href=\"https://www.instagram.com/fairleysonny/\">Sonny Fairley\u003c/a>, reggae singer \u003ca href=\"https://www.instagram.com/juniortoots/\">Junior Toots\u003c/a>, musical trio \u003ca href=\"https://www.instagram.com/guitartrifecta/\">Guitar Trifecta\u003c/a> and other local talent. Since its first iteration in 1987, the festival not only emphasizes the historical significance of Black emancipation but also the steps community members can take today to work towards healing and justice.\u003c/p>\n\u003cp>Preceding the festival is a weeklong schedule of programming from June 11–17 that includes an open house at Berkeley’s African American Holistic Resource Center, workshops on identifying and working through intergenerational trauma, using legal and policy tools to support formerly incarcerated individuals and how to document and preserve family stories. There will also be a farmer’s market specifically aimed towards supporting residents living in South Berkeley, an area that has seen limited fresh food access.\u003c/p>\n\u003ch3>\u003ca href=\"https://juneteenthcommunityfestival.info/\">7th Marin City Juneteenth Festival\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>June 19\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>800 Drake Ave., Marin City\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Marin City’s Juneteenth Festival begins at 9 a.m. with a hearty and reflective prayer breakfast at the Marguerite Johnson Senior Center, before attendees are ushered into a day packed with eclectic and energetic dance and musical performances. The lineup includes rapper \u003ca href=\"https://www.instagram.com/will_believe/\">Will Believe\u003c/a>, Parliament tribute band \u003ca href=\"https://www.instagram.com/purifiedment_funkensurance_/\">Purifiedment Funkensurance\u003c/a> and Zimbabwe neo-soul artist \u003ca href=\"https://www.instagram.com/piwaiofficial/\">Piwai\u003c/a>, among others.\u003c/p>\n\u003cp>The free festival will also feature a marketplace where vendors will be selling food, art, hair and skin products, handmade crafts and more.\u003c/p>\n\u003cfigure id=\"attachment_13930170\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/George-Hofstetter-Shayan-Davaloo-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930170\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/George-Hofstetter-Shayan-Davaloo-800x444.jpeg\" alt=\"a young Black man in glasses and a black hoodie delivers a lecture\" width=\"800\" height=\"444\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/George-Hofstetter-Shayan-Davaloo-800x444.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/George-Hofstetter-Shayan-Davaloo-1020x567.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/George-Hofstetter-Shayan-Davaloo-160x89.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/George-Hofstetter-Shayan-Davaloo-768x427.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/George-Hofstetter-Shayan-Davaloo-1536x853.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/George-Hofstetter-Shayan-Davaloo-2048x1138.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/George-Hofstetter-Shayan-Davaloo-672x372.jpeg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/George-Hofstetter-Shayan-Davaloo-1038x576.jpeg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/George-Hofstetter-Shayan-Davaloo-1920x1067.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">GHTech founder George Hofstetter delivers a lecture on Black creativity and technology. \u003ccite>(Shayan Davaloo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.eventbrite.com/e/tech-summit-tickets-640827170317\">GHTech and KitsCubed Juneteenth Tech Summit\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>June 19\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Broadway Event Hall, Oakland \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>When Oakland software engineer and educator George Hofstetter founded \u003ca href=\"https://www.instagram.com/ghtechinc/\">GHTech\u003c/a>, he aimed to uplift and encourage people of marginalized communities to carve out their own space in the tech world. Hofstetter became aware of the lack of diverse voices in the field and sought to change that, creating \u003ca href=\"https://www.georgehofstettertechnologies.com/project/hbcu-lecture-series-on-black-creativity-and-hacktivism\">a lecture series highlighting Black creativity\u003c/a> and the intersections of social justice and technology at various HBCU campuses across the U.S.\u003c/p>\n\u003cp>In collaboration with \u003ca href=\"https://www.kitscubed.com/\">KitsCubed\u003c/a> — an Oakland organization dedicated to youth-oriented science education — GHTech will conclude its lecture series with a celebratory tech summit on June 19, where people of all ages, backgrounds and experience levels can network and listen to talks on hacktivism and technology through the lens of Black liberation. The event is free to attend and will run from 5–9 p.m.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n","blocks":[],"excerpt":"With live music and dance, film, food, tech talks and kids' activities, these celebrations of Black freedom have something for everyone.","status":"publish","parent":0,"modified":1705005410,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":32,"wordCount":1362},"headData":{"title":"How to Celebrate Juneteenth 2023 in the Bay Area | KQED","description":"With live music and dance, film, food, tech talks and kids' activities, these celebrations of Black freedom have something for everyone.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"How to Celebrate Juneteenth 2023 in the Bay Area","datePublished":"2023-06-07T15:00:39.000Z","dateModified":"2024-01-11T20:36:50.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Hot Summer Guide 2023","sourceUrl":"/summerguide2023","sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13930119/how-to-celebrate-juneteenth-2023-in-the-bay-area","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>This year’s roundup of Juneteenth events celebrates the communities and organizations forging unity through education, technology, art, dance and music — highlighting joyful local traditions as well as innovative new projects and spaces honoring Black freedom.\u003c/p>\n\u003cfigure id=\"attachment_13930153\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Juneteenth-on-the-Waterfront-credit-Foodwise-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930153\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Juneteenth-on-the-Waterfront-credit-Foodwise-800x533.jpg\" alt=\"people at an outdoor farmers' market against a blue sky in San Francisco\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Juneteenth-on-the-Waterfront-credit-Foodwise-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Juneteenth-on-the-Waterfront-credit-Foodwise-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Juneteenth-on-the-Waterfront-credit-Foodwise-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Juneteenth-on-the-Waterfront-credit-Foodwise-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Juneteenth-on-the-Waterfront-credit-Foodwise-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Juneteenth-on-the-Waterfront-credit-Foodwise-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Juneteenth-on-the-Waterfront-credit-Foodwise-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Attendees explore different Black-owned food businesses at Juneteenth on the Waterfront, an annual pop-up event at the Embarcadero Ferry Terminal Plaza in San Francisco. \u003ccite>(Courtesy of Foodwise)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://foodwise.org/events/pop-ups-on-the-plaza-juneteenth-on-the-waterfront/\">Juneteenth on the Waterfront\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>June 10\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Embarcadero Ferry Terminal Plaza, San Francisco\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>The weekend farmers’ market trip was something I delighted in as a kid. It was a chance for me and my brother to explore new scents and foods, happening upon morsels we’d never have at home. Here, the magic was in the search.\u003c/p>\n\u003cp>Juneteenth on the Waterfront provides this familiar wonder, with a focus on uplifting and highlighting local Black-owned businesses. Organized by \u003ca href=\"https://www.instagram.com/foodwise/\">Foodwise\u003c/a>, a nonprofit that manages farmers markets and education programs rooted in food equity and sustainability, the event features 15 Black-owned pop-up vendors selling hearty meals, desserts and drinks. Now in its third year, Juneteenth on the Waterfront will also be debuting a craft market, where several Black creators will be selling accessories, attire, skincare and more.\u003c/p>\n\u003cp>There will also be a Black Chefs and Wine Makers talk, where a panel of restaurateurs and sommeliers that includes \u003ca href=\"https://www.instagram.com/mstanyaholland/?hl=en\">chef Tanya Holland\u003c/a> will discuss the history of Black farmers and food migration to California.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","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/PIolFf_j3AE'\n title='//www.youtube.com/embed/PIolFf_j3AE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"color: #ffffff\">..\u003c/span>\u003c/p>\n\u003ch3>\u003ca href=\"https://www.oigc.org/news/2023-juneteenth-concert-series\">Oakland Interfaith Gospel Choir Juneteenth Concert Series\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>June 16, Freight & Salvage, Berkeley; June 23, Bankhead Theater, Livermore; June 25, \u003c/em>\u003cem>Great American Music Hall, San Francisco \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>With the aim to connect people through Black gospel music, local minister and composer Terrance Kelly founded the Oakland Interfaith Gospel Choir in 1986. In this upcoming three-part concert series, the passionate and diverse choir will perform songs that highlight the significance of gospel music to African American identity and history. Each performance is dynamic — rarely are the choir members static. They sing with exuberance, dancing as they harmonize through numbers that explore both historical and contemporary gospel styles.\u003c/p>\n\u003cp>The choir will perform at \u003ca href=\"https://thefreight.org/\">Freight & Salvage\u003c/a> in Berkeley on June 16, \u003ca href=\"https://livermorearts.org/\">Bankhead Theater\u003c/a> in Livermore on June 23 and \u003ca href=\"https://gamh.com/\">Great American Music Hall\u003c/a> in San Francisco on June 25. Tickets range from $22–30; \u003ca href=\"https://www.oigc.org/tickets\">more info here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13930155\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/2022-Afrocentric-Oakland-Nate-King.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930155\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/2022-Afrocentric-Oakland-Nate-King-800x534.jpg\" alt=\"attendees dance together at an outdoor Black music and culture festival\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2022-Afrocentric-Oakland-Nate-King-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2022-Afrocentric-Oakland-Nate-King-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2022-Afrocentric-Oakland-Nate-King-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2022-Afrocentric-Oakland-Nate-King-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2022-Afrocentric-Oakland-Nate-King-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2022-Afrocentric-Oakland-Nate-King-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2022-Afrocentric-Oakland-Nate-King.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Attendees dance together at the 2022 Afrocentric Oakland’s Juneteenth Festival at Lake Merritt. \u003ccite>(Nate King)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.eventbrite.com/e/fam-bam-oaklands-14th-annual-juneteenth-festival-registration-596989340187\">Afrocentric Oakland’s 14th Annual Juneteenth Festival\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>June 17\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Lake Merritt Amphitheater, Oakland\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/afrocentricoakland/\">Afrocentric Oakland\u003c/a>’s beloved yearly Juneteenth Festival returns on June 17 with an array of live music performances, vendors, art installations and other activities. This large-scale event draws in eager crowds every year, with attendees in their breeziest outfits coming together to sing, dance and celebrate freedom. This year’s festival will be headlined by Vallejo rapper \u003ca href=\"https://www.instagram.com/larussell/\">LaRussell\u003c/a> and hosted by writer and poet \u003ca href=\"https://www.instagram.com/prenticepowell1906/\">Prentice Powell\u003c/a>, comedian \u003ca href=\"https://www.instagram.com/jayrich510/\">J. Rich\u003c/a> and artist-activist \u003ca href=\"https://www.instagram.com/msryannicole/\">RyanNicole\u003c/a>. General admission tickets are $25.\u003c/p>\n\u003cfigure id=\"attachment_13930156\" class=\"wp-caption aligncenter\" style=\"max-width: 528px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/C-Notes-at-MoAD-Community-Day-cred_-MoAD-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13930156\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/C-Notes-at-MoAD-Community-Day-cred_-MoAD-800x533.jpg\" alt=\"a musical group of seven people dressed in black and white, most of them with Afros, pose while holding instruments and smiling\" width=\"528\" height=\"352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/C-Notes-at-MoAD-Community-Day-cred_-MoAD-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/C-Notes-at-MoAD-Community-Day-cred_-MoAD-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/C-Notes-at-MoAD-Community-Day-cred_-MoAD-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/C-Notes-at-MoAD-Community-Day-cred_-MoAD-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/C-Notes-at-MoAD-Community-Day-cred_-MoAD-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/C-Notes-at-MoAD-Community-Day-cred_-MoAD-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/C-Notes-at-MoAD-Community-Day-cred_-MoAD-1920x1280.jpg 1920w\" sizes=\"(max-width: 528px) 100vw, 528px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Curtis Family C-notes will be performing at MoAD’s free community day. \u003ccite>(Courtesy of MoAD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.moadsf.org/event/free-community-day-celebrate-juneteenth\">Free Community Day at MoAD\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>June 17\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Museum of the African Diaspora, San Francisco\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>As part of its Juneteenth celebration, the \u003ca href=\"https://www.moadsf.org/\">Museum of the African Diaspora\u003c/a> will offer free admission to its current exhibitions and a variety of events from 11 a.m. to 6 p.m. These include a conversation between Oakland librarian and writer \u003ca href=\"https://dorothylazard.com/\">Dorothy Lazard\u003c/a> and KQED’s own \u003ca href=\"https://www.kqed.org/author/ogpenn\">Pendarvis Harshaw\u003c/a>; a family art workshop with the museum’s teaching artists; and musical performances by \u003ca href=\"https://www.instagram.com/thecurtisfamilycnotes/?hl=en\">The Curtis Family C-notes\u003c/a> and faculty from the \u003ca href=\"https://sfcmc.org/adults/group-classes-and-ensembles/black-music-studies-program/\">San Francisco Community Music Center’s Black Music Studies program\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13930158\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-1321982884.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930158\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/GettyImages-1321982884-800x502.jpg\" alt=\"a group of joyous young Black girls in colorful shirts dance in the street as part of a parade \" width=\"800\" height=\"502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1321982884-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1321982884-1020x640.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1321982884-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1321982884-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/GettyImages-1321982884.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Children dance as the Juneteenth parade rolls through the Fillmore District in 2014. The event celebrates the abolition of slavery in the U.S. \u003ccite>(Michael Macor/The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://juneteenth-sf.org/\">Juneteenth SF Freedom Celebration\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>June 17\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>1330 Fillmore St., San Francisco\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Spread throughout eight blocks of the Fillmore District — a historic neighborhood that became an epicenter for a thriving Black arts, music and entertainment scene in the 1940s — the Juneteenth SF Freedom Celebration will host thousands in its wide-ranging festivities. The event will be divided into six “districts” that include live performances, food, community and family-oriented games and rides, a classic car show and a hair and fashion show. Equipped with a carnival ride and ferris wheel, the festival both embodies the quintessential summer fair and centers the rich traditions of Black culture and history.\u003c/p>\n\u003cp>The event runs from 11 a.m. to 6 p.m. and admission is free. \u003ca href=\"https://www.eventbrite.com/e/juneteenth-festival-fillmore-sf-live-music-kids-zone-fashion-free-rsvp-tickets-616663736837\">More information here\u003c/a>.\u003c/p>\n\u003ch3>\u003ca href=\"https://www.ci.richmond.ca.us/CivicAlerts.aspx?AID=2296\">Juneteenth in Richmond \u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>June 17\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Nicholl Park, Richmond\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>The centerpiece for Richmond’s Juneteenth celebrations is its lively annual parade: a joyous procession made up of the city’s local leaders, youth groups and community organizations. The parade begins at 10 a.m. at the \u003ca href=\"https://www.ci.richmond.ca.us/2177/Booker-T-Anderson\">Booker T. Anderson Center\u003c/a> and will be followed by an 11 a.m. festival that includes live music, family activities and more.\u003c/p>\n\u003cfigure id=\"attachment_13930167\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/2019-Vallejo-Juneteenth-Angela-Jones-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930167\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/2019-Vallejo-Juneteenth-Angela-Jones-800x450.jpg\" alt=\"two people, seen from the back, look at bracelets at a vendor's stand\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2019-Vallejo-Juneteenth-Angela-Jones-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2019-Vallejo-Juneteenth-Angela-Jones-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2019-Vallejo-Juneteenth-Angela-Jones-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2019-Vallejo-Juneteenth-Angela-Jones-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2019-Vallejo-Juneteenth-Angela-Jones-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2019-Vallejo-Juneteenth-Angela-Jones-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2019-Vallejo-Juneteenth-Angela-Jones-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">People browse a vendor’s wares at the 2019 Vallejo Juneteenth Festival. \u003ccite>(Angela Jones)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://vallejojuneteenth.com/\">Vallejo Juneteenth Festival and Parade\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>June 17\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>301 Mare Island Way, Vallejo\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Returning for its 33rd year, the Vallejo Juneteenth Festival will kick off with a parade at 9 a.m. before attendees are invited to wander among vendor booths, groove to live music and learn about local organizations and resources related to health and wellness, education, small business development and more.\u003c/p>\n\u003cfigure id=\"attachment_13930168\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/2018-Berkeley-Juneteenth-Malaika-Kabon.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930168\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/2018-Berkeley-Juneteenth-Malaika-Kabon-800x600.jpg\" alt=\"three adorable little Black girls hold balloon animals and wear stickers that read 'I heart being Black' at a festival\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2018-Berkeley-Juneteenth-Malaika-Kabon-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2018-Berkeley-Juneteenth-Malaika-Kabon-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2018-Berkeley-Juneteenth-Malaika-Kabon-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2018-Berkeley-Juneteenth-Malaika-Kabon-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/2018-Berkeley-Juneteenth-Malaika-Kabon.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Young community members celebrate at the 2018 Berkeley Juneteenth Festival. \u003ccite>(Malaika Kabon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://berkeleyjuneteenth.org/festival-2023/\">36th Annual Berkeley Juneteenth Festival\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>June 18\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Adeline and Alcatraz, Berkeley\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>The longstanding Berkeley Juneteenth Festival returns with vendors and musical performances that include Oakland jazz artist \u003ca href=\"https://www.instagram.com/fairleysonny/\">Sonny Fairley\u003c/a>, reggae singer \u003ca href=\"https://www.instagram.com/juniortoots/\">Junior Toots\u003c/a>, musical trio \u003ca href=\"https://www.instagram.com/guitartrifecta/\">Guitar Trifecta\u003c/a> and other local talent. Since its first iteration in 1987, the festival not only emphasizes the historical significance of Black emancipation but also the steps community members can take today to work towards healing and justice.\u003c/p>\n\u003cp>Preceding the festival is a weeklong schedule of programming from June 11–17 that includes an open house at Berkeley’s African American Holistic Resource Center, workshops on identifying and working through intergenerational trauma, using legal and policy tools to support formerly incarcerated individuals and how to document and preserve family stories. There will also be a farmer’s market specifically aimed towards supporting residents living in South Berkeley, an area that has seen limited fresh food access.\u003c/p>\n\u003ch3>\u003ca href=\"https://juneteenthcommunityfestival.info/\">7th Marin City Juneteenth Festival\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>June 19\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>800 Drake Ave., Marin City\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Marin City’s Juneteenth Festival begins at 9 a.m. with a hearty and reflective prayer breakfast at the Marguerite Johnson Senior Center, before attendees are ushered into a day packed with eclectic and energetic dance and musical performances. The lineup includes rapper \u003ca href=\"https://www.instagram.com/will_believe/\">Will Believe\u003c/a>, Parliament tribute band \u003ca href=\"https://www.instagram.com/purifiedment_funkensurance_/\">Purifiedment Funkensurance\u003c/a> and Zimbabwe neo-soul artist \u003ca href=\"https://www.instagram.com/piwaiofficial/\">Piwai\u003c/a>, among others.\u003c/p>\n\u003cp>The free festival will also feature a marketplace where vendors will be selling food, art, hair and skin products, handmade crafts and more.\u003c/p>\n\u003cfigure id=\"attachment_13930170\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/George-Hofstetter-Shayan-Davaloo-scaled.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930170\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/George-Hofstetter-Shayan-Davaloo-800x444.jpeg\" alt=\"a young Black man in glasses and a black hoodie delivers a lecture\" width=\"800\" height=\"444\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/George-Hofstetter-Shayan-Davaloo-800x444.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/George-Hofstetter-Shayan-Davaloo-1020x567.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/George-Hofstetter-Shayan-Davaloo-160x89.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/George-Hofstetter-Shayan-Davaloo-768x427.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/George-Hofstetter-Shayan-Davaloo-1536x853.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/George-Hofstetter-Shayan-Davaloo-2048x1138.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/George-Hofstetter-Shayan-Davaloo-672x372.jpeg 672w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/George-Hofstetter-Shayan-Davaloo-1038x576.jpeg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/George-Hofstetter-Shayan-Davaloo-1920x1067.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">GHTech founder George Hofstetter delivers a lecture on Black creativity and technology. \u003ccite>(Shayan Davaloo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.eventbrite.com/e/tech-summit-tickets-640827170317\">GHTech and KitsCubed Juneteenth Tech Summit\u003c/a>\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>June 19\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Broadway Event Hall, Oakland \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>When Oakland software engineer and educator George Hofstetter founded \u003ca href=\"https://www.instagram.com/ghtechinc/\">GHTech\u003c/a>, he aimed to uplift and encourage people of marginalized communities to carve out their own space in the tech world. Hofstetter became aware of the lack of diverse voices in the field and sought to change that, creating \u003ca href=\"https://www.georgehofstettertechnologies.com/project/hbcu-lecture-series-on-black-creativity-and-hacktivism\">a lecture series highlighting Black creativity\u003c/a> and the intersections of social justice and technology at various HBCU campuses across the U.S.\u003c/p>\n\u003cp>In collaboration with \u003ca href=\"https://www.kitscubed.com/\">KitsCubed\u003c/a> — an Oakland organization dedicated to youth-oriented science education — GHTech will conclude its lecture series with a celebratory tech summit on June 19, where people of all ages, backgrounds and experience levels can network and listen to talks on hacktivism and technology through the lens of Black liberation. The event is free to attend and will run from 5–9 p.m.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13930119/how-to-celebrate-juneteenth-2023-in-the-bay-area","authors":["11813"],"categories":["arts_1","arts_835"],"tags":["arts_4003","arts_5016","arts_1006","arts_7465","arts_1987","arts_746","arts_2442","arts_4814","arts_20565"],"featImg":"arts_13930171","label":"source_arts_13930119"},"arts_13920126":{"type":"posts","id":"arts_13920126","meta":{"index":"posts_1591205157","site":"arts","id":"13920126","score":null,"sort":[1665500402000]},"guestAuthors":[],"slug":"student-debt-relief-biden-artists-grad-school-mfa","title":"For Many Artists, That $10K of Student Debt Relief is a Drop in the Bucket","publishDate":1665500402,"format":"standard","headTitle":"For Many Artists, That $10K of Student Debt Relief is a Drop in the Bucket | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Soon, an estimated 20 million people can begin the process of wiping out their student debt. President Biden’s debt relief plan — its application expected in late October — will provide those earning less than $125,000 with $10,000 of federal student debt relief, or up to $20,000 for those who received a federal Pell Grant.\u003c/p>\n\u003cp>But for many artists who pursued master’s degrees to advance their careers, $10,000 won’t even address the interest that’s accrued on their loans.\u003c/p>\n\u003cp>“It doesn’t mean anything,” says Oakland writer and musician \u003ca href=\"https://www.madlinesinfo.com/\">Maddy Clifford\u003c/a>. “It’s like crumbs, basically.” Clifford, who received an MFA in poetry from Mills College, currently has over $100,000 in student loan debt.\u003c/p>\n\u003cp>Clifford, who took out loans in 2006 and 2010 — when she was 19 and 22 — sees the whole student loan system as predatory. “If I was that age and I went to a bank and tried to get a [personal] loan for that much money, they would have said no.” Now, at 35, she carries a debt that seems impossible to pay down.\u003c/p>\n\u003cp>For Bay Area artists, especially those who entered graduate school around the 2007–2009 Great Recession, pursuing a master’s degree meant the chance to temporarily exit a dismal job market and, ideally, reemerge two years later with more earning power. Many aspired to teaching jobs in higher education, where an MFA is nearly always required: taking out loans was an investment in their futures as working artists.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But student debt has delayed those futures. The world of private loan servicers and repayment plans is confusing and demoralizing. And those hoping to take advantage of existing federal debt relief through the \u003ca href=\"https://studentaid.gov/manage-loans/forgiveness-cancellation/public-service\">Public Service Loan Forgiveness\u003c/a> (PSLF) program — which promises total cancellation of student debt through the equivalent of 10 years of full-time work in nonprofit or government positions — face notoriously low rates of acceptance.\u003c/p>\n\u003cp>And while 45 million Americans (about one in seven) have some amount of student debt, that burden is not shared equally. The student debt crisis disproportionately affects Black women, who graduate with larger amounts of student debt only to encounter a gender and racial wage gap that impacts their earning potential.\u003c/p>\n\u003cp>The reality of the student debt crisis has more and more people calling for not just $10,000 or $20,000 in student debt relief, but a cancellation of all student debt — and a complete overhaul of an educational system that has become prohibitively expensive.\u003c/p>\n\u003cfigure id=\"attachment_13920130\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920130\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10.jpeg\" alt=\"Tall white walls front trees as student walk near green grass\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10-1536x1024.jpeg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Students walk onto the Mills’ Oakland campus — now known as Mills College at Northeastern University — through the main gates. \u003ccite>(Steve Babuljak/Mills College)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘If I wanted to teach, I needed an MFA’\u003c/h2>\n\u003cp>In a society that treats the arts like a hobby, master’s degrees provide artists with a legitimacy they often crave. “I really felt like it was my only option at the time because I just wanted desperately to be taken seriously as an arts professional,” says Clifford of her decision to enroll at Mills. It worked — to a point. After graduating in 2012, she began teaching, eventually working with WritersCorps to teach poetry to incarcerated youth.\u003c/p>\n\u003cp>[aside postID='arts_13826589']But for many other MFA recipients, the promise of teaching jobs hasn’t materialized. The rise of “adjunctification” — hiring part-time and lower-paid faculty in lieu of tenured positions — has turned many artists into adjunct commuters who traverse the Bay Area, knitting together a semblance of full-time work at various colleges and universities.\u003c/p>\n\u003cp>“I was told, art world-wise, if I wanted to teach, I needed an MFA,” says \u003ca href=\"https://steuartpittman.com/\">Steuart Pittman\u003c/a>, who graduated from Mills with an MFA in visual art in 2009. But 13 years later, with the future of Mills’ MFA program uncertain after the college was acquired by Northeastern University, Pittman questions the value of that advice.\u003c/p>\n\u003cp>“So many of my friends that were teaching [at Mills] got laid off. It’s like I found out Santa Claus isn’t real,” says Pittman. “Like, my MFA is really just a piece of paper in a lot of ways because Mills is no longer what it was.”\u003c/p>\n\u003cp>[pullquote size='large' align='right' citation='Steuart Pittman, Mills alum']‘I do think that no matter the cost the proverbial life in the arts is really one worth living.’[/pullquote]As arts schools struggle financially nationwide, that sentiment is an increasingly common one. Locally, alums of both Mills and the recently shuttered San Francisco Art Institute are recipients of a perverse honor: their student debt will outlast the programs they took out loans to attend.\u003c/p>\n\u003cp>[aside postID='arts_13916517,news_11914203']Despite the student debt he carries, Pittman doesn’t regret attending graduate school. “I had an amazing run at Mills, an amazing time with truly special people that I’ll treasure for the rest of my life,” he says. “And I do think that no matter the cost the proverbial life in the arts is really one worth living.”\u003c/p>\n\u003cp>Clifford is less sure about her degree. While the program increased her earning potential, she says the entire structure of MFA programs is catered to those with racial and financial privilege. “It just started to dawn on me that I wasn’t going to be getting the support that a working-class person needs in order to [succeed],” she says.\u003c/p>\n\u003cp>“Graduate school can be very lonely,” Clifford adds. “It’s not always a safe environment for people of color. … So then on top of that, you have this debt.”\u003c/p>\n\u003cfigure id=\"attachment_13920132\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920132\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/CCA-Montgomery-Campus-Entrance.jpeg\" alt=\"Factory-looking facade lit from middle, spilling onto darkened sidewalk\" width=\"1000\" height=\"664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/CCA-Montgomery-Campus-Entrance.jpeg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/CCA-Montgomery-Campus-Entrance-800x531.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/CCA-Montgomery-Campus-Entrance-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/CCA-Montgomery-Campus-Entrance-768x510.jpeg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">CCA offers a number of graduate programs, including an MFA in comics and a master’s in interaction design. \u003ccite>(Courtesy CCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The interest is the biggest scam’\u003c/h2>\n\u003cp>While the average amount of federal student debt held by U.S. borrowers is $37,667, four of the six people I interviewed for this story have over $100,000 in debt, a result of expensive private schools, large loan amounts and crushing interest rates.\u003c/p>\n\u003cp>For Oakland artist \u003ca href=\"https://www.emmeine.com/\">Em Meine\u003c/a>, her original principal upon graduating from California College of the Arts was $99,441.33. Eight years later, she owes $115,766.80 (and counting; her interest rate is 7.125%). She has never missed a payment on her income-driven repayment plan.\u003c/p>\n\u003cp>Meine estimates she’s paid somewhere around $30,000 since graduating — but she says it doesn’t feel real.\u003c/p>\n\u003cp>“It feels like the saddest form of funny money,” Meine says. “It’s like this really sad joke. … I can’t imagine \u003ci>not\u003c/i> charging more to a credit card, making a payment towards it every month, and only having [the balance] get bigger.”\u003c/p>\n\u003cp>Dave Sandoval, who graduated from CCA in 2011, agrees: “The interest is the biggest scam.”\u003c/p>\n\u003cp>(Addressing this directly, one aspect of the \u003ca href=\"https://studentaid.gov/debt-relief-announcement\">Biden-Harris administration’s relief plan\u003c/a> proposes to cover unpaid monthly interest for a borrower on an income-driven repayment plan. This way, someone’s debt balance won’t grow as long as they’re making monthly payments.)\u003c/p>\n\u003cp>[pullquote size='large' align='right' citation='Dave Sandoval, CCA alum']‘I need to get this off my name, off my credit score, because you just don’t know.’[/pullquote]Since graduating, Sandoval’s student debt has increased from around $150,000 to almost $200,000. Like Meine, he’s working towards his 10 years of public service loan forgiveness, but his progress was hampered, he says, by a misleading loan servicer. For years, his payments through the private company didn’t count towards the PSLF program.\u003c/p>\n\u003cp>“I just didn’t know any better,” he says, pointing out that now, after complaints and lawsuits, there’s much more conversation and visibility around which payments to which loan servicers qualify for PSLF.\u003c/p>\n\u003cp>Sandoval says he calls the Department of Education about once a month, waiting on the line for three to five hours to talk about his case. The closer he gets to reaching his 120 payments, the more anxious he is about the entire program, which was created by an act of Congress in 2007 and could cease to exist at any time.\u003c/p>\n\u003cp>“I need to get this off my name, off my credit score, because you just don’t know,” Sandoval says. “And I don’t trust the program from the kind of issues I’ve had with it.”\u003c/p>\n\u003cfigure id=\"attachment_13920134\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920134\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/GettyImages-1411278318_1200.jpg\" alt=\"\" width=\"1200\" height=\"962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-1411278318_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-1411278318_1200-800x641.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-1411278318_1200-1020x818.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-1411278318_1200-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-1411278318_1200-768x616.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Student loan debt holders demonstrate outside the White House staff entrance on July 27, 2022. \u003ccite>(Photo by Jemal Countess/Getty Images for We, The 45 Million)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘This huge weight’\u003c/h2>\n\u003cp>The PSLF program, onerous and complicated for even the most organized individual, can also feel like the great white whale of debt relief. In 2018, data showed the Department of Education had rejected \u003ca href=\"https://www.npr.org/2018/09/21/650508381/data-shows-99-of-applicants-for-student-loan-forgiveness-denied\" target=\"_blank\" rel=\"noopener noreferrer\">99% of PSLF applications\u003c/a>. That number hasn’t improved much since then.\u003c/p>\n\u003cp>Martin Strickland, who received a master’s in exhibition and museum studies from SFAI, has been submitting paperwork to the PSLF program since 2016, but only last year did he receive any sort of confirmation from the Department of Education.\u003c/p>\n\u003cp>“It’s just like completely sending it off into the void,” he says, imagining a P.O. box “overflowing with the hopes of many, many, many, many, many students.”\u003c/p>\n\u003cp>And when — \u003ci>if\u003c/i> — he succeeds? “It would feel like this huge weight lifted off me that I’ve been thinking about for over a decade — almost every day,” he says.\u003c/p>\n\u003cp>[pullquote size='large' align='right' citation='Maddy Clifford, Mills alum']‘The more I started researching the policy, the more I realized how profoundly unjust the student loans are.’[/pullquote]Pittman expressed a similar sentiment about the mental burden. “It’s so many of us that have it, and then we feel guilty and sad and stressed about it,” he says.\u003c/p>\n\u003cp>For Clifford, being open about her student debt and connecting with others — especially Black women — on the issue has been an energizing force in recent years. In 2020, she discovered the \u003ca href=\"https://debtcollective.org/\">Debt Collective\u003c/a>, a union of debtors that grew out of the Occupy Wall Street movement. Among other action items, the group calls for a coordinated student debt strike, writing: “The government doesn’t need our money, but they are counting on our cooperation in our own exploitation.”\u003c/p>\n\u003cp>“The more I started researching the policy, the more I realized how profoundly unjust the student loans are,” Clifford says. For her, the $10,000 in student debt relief is a sign that even greater reforms are possible. The next step, Clifford says, is “making a conscious, deliberate choice to say we’re not paying this back because it’s illegitimate, because college should be free, it shouldn’t cost as much money.”\u003c/p>\n\u003cp>And though any relief is welcome, this one-time gesture doesn’t prevent future generations from having to take out the same kind of loans to advance their own lives and careers.\u003c/p>\n\u003cp>While trying to track down someone — anyone — who had achieved public service loan forgiveness, I met artist \u003ca href=\"https://laurenbartone.com/home.html\">Lauren Bartone\u003c/a>, who after years of calling and writing the Department of Education had her remaining $14,000 of student debt canceled in August. “I was so shocked when it finally happened,” she wrote.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>About two weeks later, she took out new loans to send her daughter to college.\u003c/p>\n\n","blocks":[],"excerpt":"Artists took out loans to advance their careers, only to have their futures delayed by massive student debt.","status":"publish","parent":0,"modified":1705006281,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":38,"wordCount":1995},"headData":{"title":"Why the $10K of Student Debt Relief Won’t Help Artists | KQED","description":"Artists took out loans to advance their careers, only to have their futures delayed by massive student debt.","ogTitle":"For Many Artists, That $10K of Student Debt Relief is a Drop in the Bucket","ogDescription":"","ogImgId":"","twTitle":"For Many Artists, That $10K of Student Debt Relief is a Drop in the Bucket","twDescription":"","twImgId":"","socialTitle":"Why the $10K of Student Debt Relief Won’t Help Artists %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"For Many Artists, That $10K of Student Debt Relief is a Drop in the Bucket","datePublished":"2022-10-11T15:00:02.000Z","dateModified":"2024-01-11T20:51:21.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13920126/student-debt-relief-biden-artists-grad-school-mfa","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Soon, an estimated 20 million people can begin the process of wiping out their student debt. President Biden’s debt relief plan — its application expected in late October — will provide those earning less than $125,000 with $10,000 of federal student debt relief, or up to $20,000 for those who received a federal Pell Grant.\u003c/p>\n\u003cp>But for many artists who pursued master’s degrees to advance their careers, $10,000 won’t even address the interest that’s accrued on their loans.\u003c/p>\n\u003cp>“It doesn’t mean anything,” says Oakland writer and musician \u003ca href=\"https://www.madlinesinfo.com/\">Maddy Clifford\u003c/a>. “It’s like crumbs, basically.” Clifford, who received an MFA in poetry from Mills College, currently has over $100,000 in student loan debt.\u003c/p>\n\u003cp>Clifford, who took out loans in 2006 and 2010 — when she was 19 and 22 — sees the whole student loan system as predatory. “If I was that age and I went to a bank and tried to get a [personal] loan for that much money, they would have said no.” Now, at 35, she carries a debt that seems impossible to pay down.\u003c/p>\n\u003cp>For Bay Area artists, especially those who entered graduate school around the 2007–2009 Great Recession, pursuing a master’s degree meant the chance to temporarily exit a dismal job market and, ideally, reemerge two years later with more earning power. Many aspired to teaching jobs in higher education, where an MFA is nearly always required: taking out loans was an investment in their futures as working artists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But student debt has delayed those futures. The world of private loan servicers and repayment plans is confusing and demoralizing. And those hoping to take advantage of existing federal debt relief through the \u003ca href=\"https://studentaid.gov/manage-loans/forgiveness-cancellation/public-service\">Public Service Loan Forgiveness\u003c/a> (PSLF) program — which promises total cancellation of student debt through the equivalent of 10 years of full-time work in nonprofit or government positions — face notoriously low rates of acceptance.\u003c/p>\n\u003cp>And while 45 million Americans (about one in seven) have some amount of student debt, that burden is not shared equally. The student debt crisis disproportionately affects Black women, who graduate with larger amounts of student debt only to encounter a gender and racial wage gap that impacts their earning potential.\u003c/p>\n\u003cp>The reality of the student debt crisis has more and more people calling for not just $10,000 or $20,000 in student debt relief, but a cancellation of all student debt — and a complete overhaul of an educational system that has become prohibitively expensive.\u003c/p>\n\u003cfigure id=\"attachment_13920130\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920130\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10.jpeg\" alt=\"Tall white walls front trees as student walk near green grass\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/media_gallery_hi-res_mills_10-1536x1024.jpeg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Students walk onto the Mills’ Oakland campus — now known as Mills College at Northeastern University — through the main gates. \u003ccite>(Steve Babuljak/Mills College)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘If I wanted to teach, I needed an MFA’\u003c/h2>\n\u003cp>In a society that treats the arts like a hobby, master’s degrees provide artists with a legitimacy they often crave. “I really felt like it was my only option at the time because I just wanted desperately to be taken seriously as an arts professional,” says Clifford of her decision to enroll at Mills. It worked — to a point. After graduating in 2012, she began teaching, eventually working with WritersCorps to teach poetry to incarcerated youth.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13826589","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>But for many other MFA recipients, the promise of teaching jobs hasn’t materialized. The rise of “adjunctification” — hiring part-time and lower-paid faculty in lieu of tenured positions — has turned many artists into adjunct commuters who traverse the Bay Area, knitting together a semblance of full-time work at various colleges and universities.\u003c/p>\n\u003cp>“I was told, art world-wise, if I wanted to teach, I needed an MFA,” says \u003ca href=\"https://steuartpittman.com/\">Steuart Pittman\u003c/a>, who graduated from Mills with an MFA in visual art in 2009. But 13 years later, with the future of Mills’ MFA program uncertain after the college was acquired by Northeastern University, Pittman questions the value of that advice.\u003c/p>\n\u003cp>“So many of my friends that were teaching [at Mills] got laid off. It’s like I found out Santa Claus isn’t real,” says Pittman. “Like, my MFA is really just a piece of paper in a lot of ways because Mills is no longer what it was.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘I do think that no matter the cost the proverbial life in the arts is really one worth living.’","name":"pullquote","attributes":{"named":{"size":"large","align":"right","citation":"Steuart Pittman, Mills alum","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>As arts schools struggle financially nationwide, that sentiment is an increasingly common one. Locally, alums of both Mills and the recently shuttered San Francisco Art Institute are recipients of a perverse honor: their student debt will outlast the programs they took out loans to attend.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13916517,news_11914203","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Despite the student debt he carries, Pittman doesn’t regret attending graduate school. “I had an amazing run at Mills, an amazing time with truly special people that I’ll treasure for the rest of my life,” he says. “And I do think that no matter the cost the proverbial life in the arts is really one worth living.”\u003c/p>\n\u003cp>Clifford is less sure about her degree. While the program increased her earning potential, she says the entire structure of MFA programs is catered to those with racial and financial privilege. “It just started to dawn on me that I wasn’t going to be getting the support that a working-class person needs in order to [succeed],” she says.\u003c/p>\n\u003cp>“Graduate school can be very lonely,” Clifford adds. “It’s not always a safe environment for people of color. … So then on top of that, you have this debt.”\u003c/p>\n\u003cfigure id=\"attachment_13920132\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920132\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/CCA-Montgomery-Campus-Entrance.jpeg\" alt=\"Factory-looking facade lit from middle, spilling onto darkened sidewalk\" width=\"1000\" height=\"664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/CCA-Montgomery-Campus-Entrance.jpeg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/CCA-Montgomery-Campus-Entrance-800x531.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/CCA-Montgomery-Campus-Entrance-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/CCA-Montgomery-Campus-Entrance-768x510.jpeg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">CCA offers a number of graduate programs, including an MFA in comics and a master’s in interaction design. \u003ccite>(Courtesy CCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The interest is the biggest scam’\u003c/h2>\n\u003cp>While the average amount of federal student debt held by U.S. borrowers is $37,667, four of the six people I interviewed for this story have over $100,000 in debt, a result of expensive private schools, large loan amounts and crushing interest rates.\u003c/p>\n\u003cp>For Oakland artist \u003ca href=\"https://www.emmeine.com/\">Em Meine\u003c/a>, her original principal upon graduating from California College of the Arts was $99,441.33. Eight years later, she owes $115,766.80 (and counting; her interest rate is 7.125%). She has never missed a payment on her income-driven repayment plan.\u003c/p>\n\u003cp>Meine estimates she’s paid somewhere around $30,000 since graduating — but she says it doesn’t feel real.\u003c/p>\n\u003cp>“It feels like the saddest form of funny money,” Meine says. “It’s like this really sad joke. … I can’t imagine \u003ci>not\u003c/i> charging more to a credit card, making a payment towards it every month, and only having [the balance] get bigger.”\u003c/p>\n\u003cp>Dave Sandoval, who graduated from CCA in 2011, agrees: “The interest is the biggest scam.”\u003c/p>\n\u003cp>(Addressing this directly, one aspect of the \u003ca href=\"https://studentaid.gov/debt-relief-announcement\">Biden-Harris administration’s relief plan\u003c/a> proposes to cover unpaid monthly interest for a borrower on an income-driven repayment plan. This way, someone’s debt balance won’t grow as long as they’re making monthly payments.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘I need to get this off my name, off my credit score, because you just don’t know.’","name":"pullquote","attributes":{"named":{"size":"large","align":"right","citation":"Dave Sandoval, CCA alum","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Since graduating, Sandoval’s student debt has increased from around $150,000 to almost $200,000. Like Meine, he’s working towards his 10 years of public service loan forgiveness, but his progress was hampered, he says, by a misleading loan servicer. For years, his payments through the private company didn’t count towards the PSLF program.\u003c/p>\n\u003cp>“I just didn’t know any better,” he says, pointing out that now, after complaints and lawsuits, there’s much more conversation and visibility around which payments to which loan servicers qualify for PSLF.\u003c/p>\n\u003cp>Sandoval says he calls the Department of Education about once a month, waiting on the line for three to five hours to talk about his case. The closer he gets to reaching his 120 payments, the more anxious he is about the entire program, which was created by an act of Congress in 2007 and could cease to exist at any time.\u003c/p>\n\u003cp>“I need to get this off my name, off my credit score, because you just don’t know,” Sandoval says. “And I don’t trust the program from the kind of issues I’ve had with it.”\u003c/p>\n\u003cfigure id=\"attachment_13920134\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13920134\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/10/GettyImages-1411278318_1200.jpg\" alt=\"\" width=\"1200\" height=\"962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-1411278318_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-1411278318_1200-800x641.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-1411278318_1200-1020x818.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-1411278318_1200-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/10/GettyImages-1411278318_1200-768x616.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Student loan debt holders demonstrate outside the White House staff entrance on July 27, 2022. \u003ccite>(Photo by Jemal Countess/Getty Images for We, The 45 Million)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘This huge weight’\u003c/h2>\n\u003cp>The PSLF program, onerous and complicated for even the most organized individual, can also feel like the great white whale of debt relief. In 2018, data showed the Department of Education had rejected \u003ca href=\"https://www.npr.org/2018/09/21/650508381/data-shows-99-of-applicants-for-student-loan-forgiveness-denied\" target=\"_blank\" rel=\"noopener noreferrer\">99% of PSLF applications\u003c/a>. That number hasn’t improved much since then.\u003c/p>\n\u003cp>Martin Strickland, who received a master’s in exhibition and museum studies from SFAI, has been submitting paperwork to the PSLF program since 2016, but only last year did he receive any sort of confirmation from the Department of Education.\u003c/p>\n\u003cp>“It’s just like completely sending it off into the void,” he says, imagining a P.O. box “overflowing with the hopes of many, many, many, many, many students.”\u003c/p>\n\u003cp>And when — \u003ci>if\u003c/i> — he succeeds? “It would feel like this huge weight lifted off me that I’ve been thinking about for over a decade — almost every day,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘The more I started researching the policy, the more I realized how profoundly unjust the student loans are.’","name":"pullquote","attributes":{"named":{"size":"large","align":"right","citation":"Maddy Clifford, Mills alum","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Pittman expressed a similar sentiment about the mental burden. “It’s so many of us that have it, and then we feel guilty and sad and stressed about it,” he says.\u003c/p>\n\u003cp>For Clifford, being open about her student debt and connecting with others — especially Black women — on the issue has been an energizing force in recent years. In 2020, she discovered the \u003ca href=\"https://debtcollective.org/\">Debt Collective\u003c/a>, a union of debtors that grew out of the Occupy Wall Street movement. Among other action items, the group calls for a coordinated student debt strike, writing: “The government doesn’t need our money, but they are counting on our cooperation in our own exploitation.”\u003c/p>\n\u003cp>“The more I started researching the policy, the more I realized how profoundly unjust the student loans are,” Clifford says. For her, the $10,000 in student debt relief is a sign that even greater reforms are possible. The next step, Clifford says, is “making a conscious, deliberate choice to say we’re not paying this back because it’s illegitimate, because college should be free, it shouldn’t cost as much money.”\u003c/p>\n\u003cp>And though any relief is welcome, this one-time gesture doesn’t prevent future generations from having to take out the same kind of loans to advance their own lives and careers.\u003c/p>\n\u003cp>While trying to track down someone — anyone — who had achieved public service loan forgiveness, I met artist \u003ca href=\"https://laurenbartone.com/home.html\">Lauren Bartone\u003c/a>, who after years of calling and writing the Department of Education had her remaining $14,000 of student debt canceled in August. “I was so shocked when it finally happened,” she wrote.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>About two weeks later, she took out new loans to send her daughter to college.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13920126/student-debt-relief-biden-artists-grad-school-mfa","authors":["61"],"categories":["arts_1","arts_235"],"tags":["arts_5936","arts_5850","arts_10342","arts_10278","arts_18801","arts_2299","arts_746","arts_10431","arts_3992"],"featImg":"arts_13920270","label":"arts"},"arts_13917098":{"type":"posts","id":"arts_13917098","meta":{"index":"posts_1591205157","site":"arts","id":"13917098","score":null,"sort":[1659634639000]},"guestAuthors":[],"slug":"a-russian-court-sentences-wnba-star-brittney-griner-to-9-years-on-drug-charges","title":"A Russian Court Sentences WNBA Star Brittney Griner to 9 Years on Drug Charges","publishDate":1659634639,"format":"standard","headTitle":"A Russian Court Sentences WNBA Star Brittney Griner to 9 Years on Drug Charges | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>A Russian court has found Brittney Griner guilty on drug smuggling and possession charges. The widely expected verdict comes after a monthlong trial and nearly six months after the basketball star was arrested at a Moscow-area airport with cannabis vape cartridges in her luggage.\u003c/p>\n\u003cp>The judge sentenced Griner to nine years in prison. Her charges carried up to 10 years, and the Russian prosecution had requested a sentence of nine years and six months in a penal colony.\u003c/p>\n\u003cp>The trial’s outcome was not unusual given that Russian criminal courts have a reported conviction rate of 99%. But it appears that Griner’s fate will now be decided in the political arena.\u003c/p>\n\u003cp>[aside postid='arts_13916823']The Biden administration, under public pressure to secure her release, \u003ca href=\"https://www.npr.org/2022/07/27/1114050040/brittney-griner-russia-deal\" target=\"_blank\" rel=\"noopener noreferrer\">has tried to negotiate with Russia\u003c/a> to free her as well as another jailed American, Paul Whelan. Russia has said any potential deal—including a rumored prisoner swap that could see the U.S. release notorious \u003ca href=\"https://www.npr.org/2022/07/28/1114236683/who-is-viktor-bout-the-prisoner-the-u-s-may-trade-for-brittany-griner\" target=\"_blank\" rel=\"noopener noreferrer\">Russian arms dealer Viktor Bout\u003c/a>—would have to wait until after the court’s verdict.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.whitehouse.gov/briefing-room/statements-releases/2022/08/04/statement-by-president-joe-biden-on-the-sentencing-of-wrongfully-detained-american-brittney-griner/\" target=\"_blank\" rel=\"noopener noreferrer\">a statement\u003c/a> released shortly after the verdict, President Biden called Griner’s sentence “one more reminder of what the world already knew: Russia is wrongfully detaining Brittney.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s unacceptable, and I call on Russia to release her immediately so she can be with her wife, loved ones, friends, and teammates,” he added. “My administration will continue to work tirelessly and pursue every possible avenue to bring Brittney and Paul Whelan home safely as soon as possible.”\u003c/p>\n\u003cp>Secretary of State Antony Blinken echoed that pledge in a statement of his own, in which he said the court’s decision “puts a spotlight on our significant concerns with Russia’s legal system and the Russian government’s use of wrongful detentions to advance its own agenda, using individuals as political pawns.”\u003c/p>\n\u003cp>“Russia, and any country engaging in wrongful detention, represents a threat to the safety of everyone traveling, working, and living abroad,” Blinken continued. “The United States opposes this practice everywhere. ”\u003c/p>\n\u003ch3>Griner admitted to making ‘an honest mistake’\u003c/h3>\n\u003cp>Earlier on Thursday, as the two sides delivered closing remarks, Griner’s defense attorney called for her to be acquitted, or for the court to show leniency in any punishment she’s given. The 31-year-old also spoke on her own behalf.\u003c/p>\n\u003cp>“I made an honest mistake and I hope that in your ruling that it doesn’t end my life here,” Griner said.\u003c/p>\n\u003cp>[aside postid='arts_13916267']The Olympian and NBA champion says she must have put the cannabis in her bag by mistake. Her defense team notes that Griner has a medical marijuana card in Arizona to help her cope with injuries sustained over years of competition. But personal cannabis possession is illegal under any circumstances in Russia, similar to U.S. federal law.\u003c/p>\n\u003cp>In their closing arguments, Griner’s defense attorneys cited Griner’s contributions to the growth of Russian women’s basketball and detailed irregularities in her arrest and detention including a lack of access to qualified translators—in arguing for Griner’s acquittal or at least a lenient sentence.\u003c/p>\n\u003cp>Her lawyers also noted that the basketball star was prescribed medical marijuana by a U.S. doctor to treat chronic pain in the offseason—and still had never failed a drug test.\u003c/p>\n\u003cp>“What does this show?” said defense counsel Maria Blagovolina. “It shows that Brittney Griner used marijuana only at home and only in very small doses and that she had no intention to bring the substance into Russia.”\u003c/p>\n\u003cp>In her final statement to the judge, Griner reiterated that she never intended to break any laws or hurt anyone.\u003c/p>\n\u003cp>She apologized to her Russian teammates for any damage she may have caused, adding that “this is my second home and all I wanted to do was win championships and make them proud.”\u003c/p>\n\u003ch3>Her ordeal began just before Russia invaded Ukraine\u003c/h3>\n\u003cp>Griner was arrested in February, one week before Russian President Vladimir Putin invaded Ukraine. Her detention quickly led to speculation that Putin’s government wants to use her as leverage against the U.S. Griner alluded to that in her closing remarks to the judge on Thursday.\u003c/p>\n\u003cp>“I know everybody keeps talking about political pawn and politics, but I hope that is far from this courtroom,” she said.\u003c/p>\n\u003cp>Here’s a quick recap of Griner’s ordeal:\u003c/p>\n\u003cul>\n\u003cli>Feb. 17: Griner is detained at Sheremetyevo International Airport outside Moscow\u003c/li>\n\u003cli>May 3: The U.S. State Department declares Griner wrongfully detained\u003c/li>\n\u003cli>May 28: U.S. Ambassador to Russia John J. Sullivan calls Griner a “bargaining chip” amid talk of a possible prisoner exchange\u003c/li>\n\u003cli>July 1: Prosecutors unseal their case in court as the trial begins\u003c/li>\n\u003cli>July 7: Griner \u003ca href=\"https://www.npr.org/2022/07/07/1110229049/brittney-griner-trial-hearing-russia\" target=\"_blank\" rel=\"noopener noreferrer\">pleads guilty\u003c/a> to drug charges as talk of a prisoner swap grows\u003c/li>\n\u003cli>July 27: Griner testifies, saying she inadvertently brought the cannabis to Russia\u003c/li>\n\u003cli>July 27: The U.S. says it offered Russia \u003ca href=\"https://www.npr.org/2022/07/27/1114050040/brittney-griner-russia-deal\" target=\"_blank\" rel=\"noopener noreferrer\">a deal\u003c/a> to free Griner and another jailed American, \u003ca href=\"https://www.npr.org/2020/06/15/876966569/american-paul-whelan-held-in-russia-on-spy-charges-is-sentenced-to-16-years\" target=\"_blank\" rel=\"noopener noreferrer\">Paul Whelan\u003c/a>\u003c/li>\n\u003cli>Aug. 4: Closing arguments begin\u003c/li>\n\u003c/ul>\n\u003ch3>Athletes and activists at home are calling for her release\u003c/h3>\n\u003cp>Griner is a star center for the Phoenix Mercury. But like many WNBA players, she plays in overseas leagues during the U.S. league’s offseason, earning far more than her WNBA salary. In recent years, she has played for UMMC Ekaterinburg, a Russian team owned by oligarch Iskander Makhmudov. The team has had \u003ca href=\"http://www.espn.com/espn/feature/story/_/page/espnw-russia160505/brittney-griner-diana-taurasi-opted-play-russia-money-escape-spotlight\" target=\"_blank\" rel=\"noopener noreferrer\">longstanding ties\u003c/a> to Griner’s U.S. club.\u003c/p>\n\u003cp>Griner was returning to her Russian team from the U.S. when she was detained.\u003c/p>\n\u003cp>[aside postid='arts_13914214']WNBA Commissioner Cathy Engelbert and NBA Commissioner Adam Silver said in a statement on Thursday that the verdict and sentencing are “unjustified and unfortunate, but not unexpected.”\u003c/p>\n\u003cp>“The WNBA and NBA’s commitment to her safe return has not wavered and it is our hope that we are near the end of this process of finally bringing BG home to the United States,” they added.\u003c/p>\n\u003cp>The effort to free Griner has grown from her fans and fellow basketball players to include a much broader circle. This summer, dozens of rights groups, including the Human Rights Campaign, the National Organization for Women and National LGBTQ Task Force \u003ca href=\"https://www.npr.org/2022/06/23/1107151056/biden-faces-pressure-to-help-get-wnba-star-brittney-griner-released-from-russian\" target=\"_blank\" rel=\"noopener noreferrer\">wrote a letter to President Biden\u003c/a> urging him to treat her case with urgency.\u003c/p>\n\u003cp>\u003cem>Maynes reported from Russia. Chappell and Treisman reported from Washington, D.C.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This is a developing story. Check back here for updates.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Russian+court+sentences+WNBA+star+Brittney+Griner+to+9+years+on+drug+charges&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n","blocks":[],"excerpt":"Russia has indicated that any potential deal to secure Griner's release would have to wait until a verdict.","status":"publish","parent":0,"modified":1705006535,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":28,"wordCount":1134},"headData":{"title":"A Russian Court Sentences WNBA Star Brittney Griner to 9 Years on Drug Charges | KQED","description":"Russia has indicated that any potential deal to secure Griner's release would have to wait until a verdict.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Russian Court Sentences WNBA Star Brittney Griner to 9 Years on Drug Charges","datePublished":"2022-08-04T17:37:19.000Z","dateModified":"2024-01-11T20:55:35.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"Evgenia Novozhenina","nprByline":"Rachel Treisman","nprImageAgency":"AFP via Getty Images","nprStoryId":"1115541890","nprApiLink":"http://api.npr.org/query?id=1115541890&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2022/08/04/1115541890/brittney-griner-russia-drug-trial?ft=nprml&f=1115541890","nprRetrievedStory":"1","nprPubDate":"Thu, 04 Aug 2022 12:45:00 -0400","nprStoryDate":"Thu, 04 Aug 2022 04:23:00 -0400","nprLastModifiedDate":"Thu, 04 Aug 2022 12:45:49 -0400","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/arts/13917098/a-russian-court-sentences-wnba-star-brittney-griner-to-9-years-on-drug-charges","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A Russian court has found Brittney Griner guilty on drug smuggling and possession charges. The widely expected verdict comes after a monthlong trial and nearly six months after the basketball star was arrested at a Moscow-area airport with cannabis vape cartridges in her luggage.\u003c/p>\n\u003cp>The judge sentenced Griner to nine years in prison. Her charges carried up to 10 years, and the Russian prosecution had requested a sentence of nine years and six months in a penal colony.\u003c/p>\n\u003cp>The trial’s outcome was not unusual given that Russian criminal courts have a reported conviction rate of 99%. But it appears that Griner’s fate will now be decided in the political arena.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13916823","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The Biden administration, under public pressure to secure her release, \u003ca href=\"https://www.npr.org/2022/07/27/1114050040/brittney-griner-russia-deal\" target=\"_blank\" rel=\"noopener noreferrer\">has tried to negotiate with Russia\u003c/a> to free her as well as another jailed American, Paul Whelan. Russia has said any potential deal—including a rumored prisoner swap that could see the U.S. release notorious \u003ca href=\"https://www.npr.org/2022/07/28/1114236683/who-is-viktor-bout-the-prisoner-the-u-s-may-trade-for-brittany-griner\" target=\"_blank\" rel=\"noopener noreferrer\">Russian arms dealer Viktor Bout\u003c/a>—would have to wait until after the court’s verdict.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.whitehouse.gov/briefing-room/statements-releases/2022/08/04/statement-by-president-joe-biden-on-the-sentencing-of-wrongfully-detained-american-brittney-griner/\" target=\"_blank\" rel=\"noopener noreferrer\">a statement\u003c/a> released shortly after the verdict, President Biden called Griner’s sentence “one more reminder of what the world already knew: Russia is wrongfully detaining Brittney.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s unacceptable, and I call on Russia to release her immediately so she can be with her wife, loved ones, friends, and teammates,” he added. “My administration will continue to work tirelessly and pursue every possible avenue to bring Brittney and Paul Whelan home safely as soon as possible.”\u003c/p>\n\u003cp>Secretary of State Antony Blinken echoed that pledge in a statement of his own, in which he said the court’s decision “puts a spotlight on our significant concerns with Russia’s legal system and the Russian government’s use of wrongful detentions to advance its own agenda, using individuals as political pawns.”\u003c/p>\n\u003cp>“Russia, and any country engaging in wrongful detention, represents a threat to the safety of everyone traveling, working, and living abroad,” Blinken continued. “The United States opposes this practice everywhere. ”\u003c/p>\n\u003ch3>Griner admitted to making ‘an honest mistake’\u003c/h3>\n\u003cp>Earlier on Thursday, as the two sides delivered closing remarks, Griner’s defense attorney called for her to be acquitted, or for the court to show leniency in any punishment she’s given. The 31-year-old also spoke on her own behalf.\u003c/p>\n\u003cp>“I made an honest mistake and I hope that in your ruling that it doesn’t end my life here,” Griner said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13916267","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The Olympian and NBA champion says she must have put the cannabis in her bag by mistake. Her defense team notes that Griner has a medical marijuana card in Arizona to help her cope with injuries sustained over years of competition. But personal cannabis possession is illegal under any circumstances in Russia, similar to U.S. federal law.\u003c/p>\n\u003cp>In their closing arguments, Griner’s defense attorneys cited Griner’s contributions to the growth of Russian women’s basketball and detailed irregularities in her arrest and detention including a lack of access to qualified translators—in arguing for Griner’s acquittal or at least a lenient sentence.\u003c/p>\n\u003cp>Her lawyers also noted that the basketball star was prescribed medical marijuana by a U.S. doctor to treat chronic pain in the offseason—and still had never failed a drug test.\u003c/p>\n\u003cp>“What does this show?” said defense counsel Maria Blagovolina. “It shows that Brittney Griner used marijuana only at home and only in very small doses and that she had no intention to bring the substance into Russia.”\u003c/p>\n\u003cp>In her final statement to the judge, Griner reiterated that she never intended to break any laws or hurt anyone.\u003c/p>\n\u003cp>She apologized to her Russian teammates for any damage she may have caused, adding that “this is my second home and all I wanted to do was win championships and make them proud.”\u003c/p>\n\u003ch3>Her ordeal began just before Russia invaded Ukraine\u003c/h3>\n\u003cp>Griner was arrested in February, one week before Russian President Vladimir Putin invaded Ukraine. Her detention quickly led to speculation that Putin’s government wants to use her as leverage against the U.S. Griner alluded to that in her closing remarks to the judge on Thursday.\u003c/p>\n\u003cp>“I know everybody keeps talking about political pawn and politics, but I hope that is far from this courtroom,” she said.\u003c/p>\n\u003cp>Here’s a quick recap of Griner’s ordeal:\u003c/p>\n\u003cul>\n\u003cli>Feb. 17: Griner is detained at Sheremetyevo International Airport outside Moscow\u003c/li>\n\u003cli>May 3: The U.S. State Department declares Griner wrongfully detained\u003c/li>\n\u003cli>May 28: U.S. Ambassador to Russia John J. Sullivan calls Griner a “bargaining chip” amid talk of a possible prisoner exchange\u003c/li>\n\u003cli>July 1: Prosecutors unseal their case in court as the trial begins\u003c/li>\n\u003cli>July 7: Griner \u003ca href=\"https://www.npr.org/2022/07/07/1110229049/brittney-griner-trial-hearing-russia\" target=\"_blank\" rel=\"noopener noreferrer\">pleads guilty\u003c/a> to drug charges as talk of a prisoner swap grows\u003c/li>\n\u003cli>July 27: Griner testifies, saying she inadvertently brought the cannabis to Russia\u003c/li>\n\u003cli>July 27: The U.S. says it offered Russia \u003ca href=\"https://www.npr.org/2022/07/27/1114050040/brittney-griner-russia-deal\" target=\"_blank\" rel=\"noopener noreferrer\">a deal\u003c/a> to free Griner and another jailed American, \u003ca href=\"https://www.npr.org/2020/06/15/876966569/american-paul-whelan-held-in-russia-on-spy-charges-is-sentenced-to-16-years\" target=\"_blank\" rel=\"noopener noreferrer\">Paul Whelan\u003c/a>\u003c/li>\n\u003cli>Aug. 4: Closing arguments begin\u003c/li>\n\u003c/ul>\n\u003ch3>Athletes and activists at home are calling for her release\u003c/h3>\n\u003cp>Griner is a star center for the Phoenix Mercury. But like many WNBA players, she plays in overseas leagues during the U.S. league’s offseason, earning far more than her WNBA salary. In recent years, she has played for UMMC Ekaterinburg, a Russian team owned by oligarch Iskander Makhmudov. The team has had \u003ca href=\"http://www.espn.com/espn/feature/story/_/page/espnw-russia160505/brittney-griner-diana-taurasi-opted-play-russia-money-escape-spotlight\" target=\"_blank\" rel=\"noopener noreferrer\">longstanding ties\u003c/a> to Griner’s U.S. club.\u003c/p>\n\u003cp>Griner was returning to her Russian team from the U.S. when she was detained.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13914214","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>WNBA Commissioner Cathy Engelbert and NBA Commissioner Adam Silver said in a statement on Thursday that the verdict and sentencing are “unjustified and unfortunate, but not unexpected.”\u003c/p>\n\u003cp>“The WNBA and NBA’s commitment to her safe return has not wavered and it is our hope that we are near the end of this process of finally bringing BG home to the United States,” they added.\u003c/p>\n\u003cp>The effort to free Griner has grown from her fans and fellow basketball players to include a much broader circle. This summer, dozens of rights groups, including the Human Rights Campaign, the National Organization for Women and National LGBTQ Task Force \u003ca href=\"https://www.npr.org/2022/06/23/1107151056/biden-faces-pressure-to-help-get-wnba-star-brittney-griner-released-from-russian\" target=\"_blank\" rel=\"noopener noreferrer\">wrote a letter to President Biden\u003c/a> urging him to treat her case with urgency.\u003c/p>\n\u003cp>\u003cem>Maynes reported from Russia. Chappell and Treisman reported from Washington, D.C.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This is a developing story. Check back here for updates.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Russian+court+sentences+WNBA+star+Brittney+Griner+to+9+years+on+drug+charges&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13917098/a-russian-court-sentences-wnba-star-brittney-griner-to-9-years-on-drug-charges","authors":["byline_arts_13917098"],"categories":["arts_1","arts_235","arts_13238"],"tags":["arts_746","arts_4090","arts_4506"],"affiliates":["arts_137"],"featImg":"arts_13917099","label":"arts_137"},"arts_13911818":{"type":"posts","id":"arts_13911818","meta":{"index":"posts_1591205157","site":"arts","id":"13911818","score":null,"sort":[1649879655000]},"guestAuthors":[],"slug":"abortion-rights-crossword-word-puzzles-bay-area","title":"An Unlikely Form of Abortion Rights Protest: Crossword Puzzles","publishDate":1649879655,"format":"standard","headTitle":"An Unlikely Form of Abortion Rights Protest: Crossword Puzzles | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>“I have been angry and anxious about reproductive rights for a long time,” says \u003ca href=\"https://kateschmatecrosswords.weebly.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kate Chin Park\u003c/a>, a custom furniture maker from Oakland. “And unfortunately, because abortion services have been made so scarce in many places, donations from private individuals are a really important way to try and get people access to the care they need.”\u003c/p>\n\u003cp>Chin Park is one of four Bay Area creatives who constructed crossword designs for \u003cem>These Puzzles Fund Abortion Too\u003c/em>, a pack of 16 puzzles created to raise money for reproductive rights, which launched on March 1. Chin Park describes her fellow puzzle-builders on the project as “the most interesting, envelope-pushing, brilliant, and funny people writing crosswords today.”\u003c/p>\n\u003cp>Chin Park’s contribution was an acrostic titled “Intolerable!” that she designed with her friend \u003ca href=\"https://twitter.com/wordgarbler\" target=\"_blank\" rel=\"noopener noreferrer\">Chris Piuma\u003c/a>. “I’m appreciative that this project specifically seeks to benefit people in severely under-served areas,” she says. “I’m just extremely grateful to be a small part of it.”\u003c/p>\n\u003cfigure id=\"attachment_13911865\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911865\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/TPFA2-800x926.png\" alt=\"\" width=\"600\" height=\"695\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/TPFA2-800x926.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/TPFA2-160x185.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/TPFA2-768x889.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/TPFA2.png 912w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">TPFA2.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>These Puzzles Fund Abortion Too\u003c/em> (\u003cem>TPFA2\u003c/em>) is the follow-up to a 2020 crossword pack curated by \u003ca href=\"https://twitter.com/faBioethics\" target=\"_blank\" rel=\"noopener noreferrer\">Rachel Fabi\u003c/a>. Fabi is an assistant professor of bioethics and humanities and regular \u003cem>New York Times\u003c/em> crossword contributor, based in Syracuse, NY. She was inspired to launch the project after seeing similar packs by \u003ca href=\"http://www.queerqrosswords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Queer Qrosswords\u003c/a> and \u003ca href=\"https://www.pattivarol.com/women-of-letters\" target=\"_blank\" rel=\"noopener noreferrer\">Women of Letters\u003c/a>. After donating a single crossword design to a 2019 fundraiser for the \u003ca href=\"https://www.baltimoreabortionfund.org/about\" target=\"_blank\" rel=\"noopener noreferrer\">Baltimore Abortion Fund\u003c/a>, Fabi suspected a full set would have a much greater impact. It did—\u003cem>These Puzzles Fund Abortion\u003c/em> went on to raise nearly $65,000.\u003c/p>\n\u003cp>“The 2020 pack raised so much more money than any of us expected,” Fabi tells KQED Arts, “so this year I decided to do it again.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fabi shared editing duties this time around with her friends and fellow puzzle-makers \u003ca href=\"https://twitter.com/xandraladee\" target=\"_blank\" rel=\"noopener noreferrer\">Brooke Husic\u003c/a> and Claire Rimkus. “They have been absolutely instrumental to its success,” Fabi emphasizes. “Both iterations of \u003cem>TPFA\u003c/em> drew on our constructor friends, and we wanted to feature a mix of established constructors and newer voices. It may be a coincidence that so many are from the Bay Area, [but] I think there is a lot of constructing talent there.”\u003c/p>\n\u003cfigure id=\"attachment_13911862\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911862\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Screen-Shot-2022-04-12-at-5.28.13-PM-800x581.png\" alt=\"a crossword puzzle designed to look like the female reproductive system\" width=\"800\" height=\"581\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-12-at-5.28.13-PM-800x581.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-12-at-5.28.13-PM-1020x741.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-12-at-5.28.13-PM-160x116.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-12-at-5.28.13-PM-768x558.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-12-at-5.28.13-PM-1536x1115.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-12-at-5.28.13-PM-2048x1487.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-12-at-5.28.13-PM-1920x1394.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Mass Hysteria,” a puzzle constructed by Rachel Fabi and Rebecca Goldstein, uses grid art to depict the female reproductive system. \u003ccite>(Courtesy of Rachel Fabi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other Bay Area contributors include \u003ca href=\"https://twitter.com/rebecculous?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">Rebecca Goldstein\u003c/a> from Albany, who made “Mass Hysteria”; Enrique Henestroza Anguiano from Oakland, who built “Fair & Right”; and \u003ca href=\"https://twitter.com/kateshawkins\" target=\"_blank\" rel=\"noopener noreferrer\">Kate Hawkins\u003c/a>, also from Oakland, who created “safe, legal, and now by mail.”\u003c/p>\n\u003cp>Hawkins’ puzzle, as the title indicates, contains several answers on the theme of emergency contraception. A product manager who regularly constructs puzzles for publications like the \u003cem>New York Times\u003c/em>, \u003cem>USA Today\u003c/em> and \u003cem>The Atlantic\u003c/em>, Hawkins says she jumped at the chance to be part of the project.\u003c/p>\n\u003cp>[aside postID='arts_13902723,forum_2010101885421,news_11887229']“When the opportunity arises to do a thing I love,” Hawkins says, “to support a cause I believe so deeply in—access to abortion and reproductive care for everyone—well, I don’t think I’ve ever responded to any email faster. I hope this puzzle pack helps raise funds and encourages donations, especially at a time when access to these basic human rights is unfortunately in jeopardy.”\u003c/p>\n\u003cp>Hawkins says she has been blown away by the tight-knit nature of the crossword constructing community since she joined their ranks in 2019. “This community is filled with awesome people who are incredibly generous with their time,” she says. “The level of talent far exceeds the number of paid publishing opportunities, which, for better or worse, has led to a vibrant indie scene. That includes some very organized folks wrangling puzzle packs like this into being.”\u003c/p>\n\u003cp>\u003cem>TPFA2 \u003c/em>has already raised more than $30,000, and will be available until the end of May. Donations will benefit seven reproductive rights organizations: the Baltimore Abortion Fund, \u003ca href=\"https://abortionfunds.org/fund/tampa-bay-abortion-fund/\" target=\"_blank\" rel=\"noopener noreferrer\">Tampa Bay Abortion Fund\u003c/a>, \u003ca href=\"https://www.kentuckyhealthjusticenetwork.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Kentucky Health Justice Network\u003c/a>, \u003ca href=\"https://www.nyaaf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">New York Abortion Access Fund\u003c/a>, \u003ca href=\"https://midwestaccesscoalition.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Midwest Access Coalition\u003c/a>, \u003ca href=\"https://emafund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Eastern Massachusetts Fund\u003c/a> and \u003ca href=\"https://www.iwrising.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Indigenous Women Rising\u003c/a>.\u003c/p>\n\u003cp>“I’d love for this pack to raise awareness that reproductive justice means more than just protecting Roe v. Wade,” Fabi says. “Even though someone may have a legal right to an abortion, that right is meaningless without the ability to exercise it.”\u003c/p>\n\u003cp>“Ideally though,” she concludes, “my dream is to live in a world where access to abortion care is guaranteed to everyone who chooses it.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘These Puzzles Fund Abortion Too’ can be purchased at the \u003ca href=\"https://fund.nnaf.org/campaign/these-puzzles-fund-abortion-too/c392643#:~:text=These%20Puzzles%20Fund%20Abortion%20Too%20(TPFA2)%20is%20a%20pack%20of,safe%20and%20affordable%20abortion%20care.\" target=\"_blank\" rel=\"noopener noreferrer\">National Network of Abortion Funds website\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"'These Puzzles Fund Abortion Too,' aided by a strong contingent of Bay Area crossword creators, raises funds for seven reproductive rights charities.","status":"publish","parent":0,"modified":1705006974,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":811},"headData":{"title":"An Unlikely Form of Abortion Rights Protest: Crossword Puzzles | KQED","description":"'These Puzzles Fund Abortion Too,' aided by a strong contingent of Bay Area crossword creators, raises funds for seven reproductive rights charities.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"An Unlikely Form of Abortion Rights Protest: Crossword Puzzles","datePublished":"2022-04-13T19:54:15.000Z","dateModified":"2024-01-11T21:02:54.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"WpOldSlug":"abortion-rights-crosswords-these-puzzles-fund-abortion-too-bay-area-makers","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13911818/abortion-rights-crossword-word-puzzles-bay-area","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I have been angry and anxious about reproductive rights for a long time,” says \u003ca href=\"https://kateschmatecrosswords.weebly.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kate Chin Park\u003c/a>, a custom furniture maker from Oakland. “And unfortunately, because abortion services have been made so scarce in many places, donations from private individuals are a really important way to try and get people access to the care they need.”\u003c/p>\n\u003cp>Chin Park is one of four Bay Area creatives who constructed crossword designs for \u003cem>These Puzzles Fund Abortion Too\u003c/em>, a pack of 16 puzzles created to raise money for reproductive rights, which launched on March 1. Chin Park describes her fellow puzzle-builders on the project as “the most interesting, envelope-pushing, brilliant, and funny people writing crosswords today.”\u003c/p>\n\u003cp>Chin Park’s contribution was an acrostic titled “Intolerable!” that she designed with her friend \u003ca href=\"https://twitter.com/wordgarbler\" target=\"_blank\" rel=\"noopener noreferrer\">Chris Piuma\u003c/a>. “I’m appreciative that this project specifically seeks to benefit people in severely under-served areas,” she says. “I’m just extremely grateful to be a small part of it.”\u003c/p>\n\u003cfigure id=\"attachment_13911865\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911865\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/TPFA2-800x926.png\" alt=\"\" width=\"600\" height=\"695\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/TPFA2-800x926.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/TPFA2-160x185.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/TPFA2-768x889.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/TPFA2.png 912w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">TPFA2.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>These Puzzles Fund Abortion Too\u003c/em> (\u003cem>TPFA2\u003c/em>) is the follow-up to a 2020 crossword pack curated by \u003ca href=\"https://twitter.com/faBioethics\" target=\"_blank\" rel=\"noopener noreferrer\">Rachel Fabi\u003c/a>. Fabi is an assistant professor of bioethics and humanities and regular \u003cem>New York Times\u003c/em> crossword contributor, based in Syracuse, NY. She was inspired to launch the project after seeing similar packs by \u003ca href=\"http://www.queerqrosswords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Queer Qrosswords\u003c/a> and \u003ca href=\"https://www.pattivarol.com/women-of-letters\" target=\"_blank\" rel=\"noopener noreferrer\">Women of Letters\u003c/a>. After donating a single crossword design to a 2019 fundraiser for the \u003ca href=\"https://www.baltimoreabortionfund.org/about\" target=\"_blank\" rel=\"noopener noreferrer\">Baltimore Abortion Fund\u003c/a>, Fabi suspected a full set would have a much greater impact. It did—\u003cem>These Puzzles Fund Abortion\u003c/em> went on to raise nearly $65,000.\u003c/p>\n\u003cp>“The 2020 pack raised so much more money than any of us expected,” Fabi tells KQED Arts, “so this year I decided to do it again.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fabi shared editing duties this time around with her friends and fellow puzzle-makers \u003ca href=\"https://twitter.com/xandraladee\" target=\"_blank\" rel=\"noopener noreferrer\">Brooke Husic\u003c/a> and Claire Rimkus. “They have been absolutely instrumental to its success,” Fabi emphasizes. “Both iterations of \u003cem>TPFA\u003c/em> drew on our constructor friends, and we wanted to feature a mix of established constructors and newer voices. It may be a coincidence that so many are from the Bay Area, [but] I think there is a lot of constructing talent there.”\u003c/p>\n\u003cfigure id=\"attachment_13911862\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911862\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Screen-Shot-2022-04-12-at-5.28.13-PM-800x581.png\" alt=\"a crossword puzzle designed to look like the female reproductive system\" width=\"800\" height=\"581\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-12-at-5.28.13-PM-800x581.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-12-at-5.28.13-PM-1020x741.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-12-at-5.28.13-PM-160x116.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-12-at-5.28.13-PM-768x558.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-12-at-5.28.13-PM-1536x1115.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-12-at-5.28.13-PM-2048x1487.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Screen-Shot-2022-04-12-at-5.28.13-PM-1920x1394.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Mass Hysteria,” a puzzle constructed by Rachel Fabi and Rebecca Goldstein, uses grid art to depict the female reproductive system. \u003ccite>(Courtesy of Rachel Fabi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other Bay Area contributors include \u003ca href=\"https://twitter.com/rebecculous?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">Rebecca Goldstein\u003c/a> from Albany, who made “Mass Hysteria”; Enrique Henestroza Anguiano from Oakland, who built “Fair & Right”; and \u003ca href=\"https://twitter.com/kateshawkins\" target=\"_blank\" rel=\"noopener noreferrer\">Kate Hawkins\u003c/a>, also from Oakland, who created “safe, legal, and now by mail.”\u003c/p>\n\u003cp>Hawkins’ puzzle, as the title indicates, contains several answers on the theme of emergency contraception. A product manager who regularly constructs puzzles for publications like the \u003cem>New York Times\u003c/em>, \u003cem>USA Today\u003c/em> and \u003cem>The Atlantic\u003c/em>, Hawkins says she jumped at the chance to be part of the project.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13902723,forum_2010101885421,news_11887229","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“When the opportunity arises to do a thing I love,” Hawkins says, “to support a cause I believe so deeply in—access to abortion and reproductive care for everyone—well, I don’t think I’ve ever responded to any email faster. I hope this puzzle pack helps raise funds and encourages donations, especially at a time when access to these basic human rights is unfortunately in jeopardy.”\u003c/p>\n\u003cp>Hawkins says she has been blown away by the tight-knit nature of the crossword constructing community since she joined their ranks in 2019. “This community is filled with awesome people who are incredibly generous with their time,” she says. “The level of talent far exceeds the number of paid publishing opportunities, which, for better or worse, has led to a vibrant indie scene. That includes some very organized folks wrangling puzzle packs like this into being.”\u003c/p>\n\u003cp>\u003cem>TPFA2 \u003c/em>has already raised more than $30,000, and will be available until the end of May. Donations will benefit seven reproductive rights organizations: the Baltimore Abortion Fund, \u003ca href=\"https://abortionfunds.org/fund/tampa-bay-abortion-fund/\" target=\"_blank\" rel=\"noopener noreferrer\">Tampa Bay Abortion Fund\u003c/a>, \u003ca href=\"https://www.kentuckyhealthjusticenetwork.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Kentucky Health Justice Network\u003c/a>, \u003ca href=\"https://www.nyaaf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">New York Abortion Access Fund\u003c/a>, \u003ca href=\"https://midwestaccesscoalition.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Midwest Access Coalition\u003c/a>, \u003ca href=\"https://emafund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Eastern Massachusetts Fund\u003c/a> and \u003ca href=\"https://www.iwrising.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Indigenous Women Rising\u003c/a>.\u003c/p>\n\u003cp>“I’d love for this pack to raise awareness that reproductive justice means more than just protecting Roe v. Wade,” Fabi says. “Even though someone may have a legal right to an abortion, that right is meaningless without the ability to exercise it.”\u003c/p>\n\u003cp>“Ideally though,” she concludes, “my dream is to live in a world where access to abortion care is guaranteed to everyone who chooses it.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘These Puzzles Fund Abortion Too’ can be purchased at the \u003ca href=\"https://fund.nnaf.org/campaign/these-puzzles-fund-abortion-too/c392643#:~:text=These%20Puzzles%20Fund%20Abortion%20Too%20(TPFA2)%20is%20a%20pack%20of,safe%20and%20affordable%20abortion%20care.\" target=\"_blank\" rel=\"noopener noreferrer\">National Network of Abortion Funds website\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13911818/abortion-rights-crossword-word-puzzles-bay-area","authors":["11242"],"categories":["arts_1","arts_73","arts_11615","arts_235"],"tags":["arts_9324","arts_10342","arts_10278","arts_746","arts_13671"],"featImg":"arts_13911901","label":"arts"},"arts_13911741":{"type":"posts","id":"arts_13911741","meta":{"index":"posts_1591205157","site":"arts","id":"13911741","score":null,"sort":[1649702428000]},"guestAuthors":[],"slug":"soapbox-derby-photos-mclaren-park-san-francisco","title":"PHOTOS: The Soapbox Derby's Wild Downhill Action in San Francisco","publishDate":1649702428,"format":"standard","headTitle":"PHOTOS: The Soapbox Derby’s Wild Downhill Action in San Francisco | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The Soapbox Derby made its grand, colorful return to McLaren Park in San Francisco on Sunday with thrills, hills, and spills.\u003c/p>\n\u003cp>Thousands turned out to see 57 art cars, none of them equipped with engines or motors, hurl (and occasionally crawl) precariously downhill. The races took place on John F. Shelly Drive, an under-maintained asphalt obstacle of a street, complete with potholes, cracks, and—presenting a source of sometimes slapstick comedy for the crowd—a speed bump.\u003c/p>\n\u003cp>[aside postID='news_11910363']This was not your ordinary Indy 500-style race. Among the Soapbox Derby categories ranked by the judges: “Slowest,” “Best of the Worst” and “Most Graceful Wipeout.”\u003c/p>\n\u003cp>KGO news anchor Kumasi Aaron and KQED’s own Pendarvis Harshaw, host of \u003cem>\u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" rel=\"noopener noreferrer\" target=\"_blank\">Rightnowish\u003c/a>\u003c/em>, served as race announcers, giving color to every rattling mishap over the “cheese grater” portion of the track. Judges included musician \u003ca href=\"https://www.kqed.org/arts/13900272/de-san-francisco-para-el-mundo-la-donas-star-rises\" rel=\"noopener noreferrer\" target=\"_blank\">La Doña\u003c/a>; Dorcas Moulton, who created the famed “bread car” as \u003ca href=\"https://www.kqed.org/news/11910363/wacky-homemade-cars-will-soon-roll-down-the-hill-in-sfs-mclaren-park-again\" rel=\"noopener noreferrer\" target=\"_blank\">part of the original Soapbox Derby\u003c/a>; drag queen and educator \u003ca href=\"https://www.kqed.org/arts/13472763/storytime-and-stilettos-with-persia\" rel=\"noopener noreferrer\" target=\"_blank\">Per Sia\u003c/a>; and USC professor Amanda Pope.\u003c/p>\n\u003cp>KQED’s Beth LaBerge was there to capture the scene. See the Soapbox Derby’s colorful, creative cars, and the action that ensued, in her photos below. \u003c/p>\n\u003cfigure id=\"attachment_13911742\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911742\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alex Morris and Noah Pilchen sit in a bathtub before racing at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911748\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Whitney Shaw-Brandborg prepares to race in the pencil shaped car, created by her father Richard Shaw, at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911746\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911746\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Wondering Eye’ crashes in a part of the course called the ‘Cheese Grater’ during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911751\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911751\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Peter Taylor races behind ‘MUNI Tunes’ while crossing the finish line at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Cassandra Peña-Govea, AKA La Dona, and drag queen and educator Per Sia judge contestants during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911745\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Shrimp Car’ crosses the finish line during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911757\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joey Enos prepares to race his creation, the ‘Fine To Adequate Art Shipping Crate’, in the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911744\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911744\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Crumple Car’ crosses the finish line during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911753\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911753\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Hairy Eyeball’, created by John Casey, races during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911756\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911756\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Girls Garage’ leaves the startling line during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911758\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Announcer Pendarvis Harshaw, host of KQED’s Rightnowish, speaks during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911743\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Flora 5000’, created by Macro Waves, races at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911752\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911752\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cutouts of drag queens fill the window of Muni Tunes at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911760\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘SCRAPmobile’ creative reuse center soapbox prepares to race during the SFMOMA Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911755\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911755\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Flora 5000’, created by Macro Waves, races at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"See photos from the Soapbox Derby's grand return to McLaren Park, and its colorful, creative cars. ","status":"publish","parent":0,"modified":1705006988,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":720},"headData":{"title":"PHOTOS: The Soapbox Derby's Wild Downhill Action in San Francisco | KQED","description":"See photos from the Soapbox Derby's grand return to McLaren Park, and its colorful, creative cars. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"PHOTOS: The Soapbox Derby's Wild Downhill Action in San Francisco","datePublished":"2022-04-11T18:40:28.000Z","dateModified":"2024-01-11T21:03:08.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"WpOldSlug":"photos-the-soapbox-derbys-wild-downhill-action-in-san-francisco","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13911741/soapbox-derby-photos-mclaren-park-san-francisco","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Soapbox Derby made its grand, colorful return to McLaren Park in San Francisco on Sunday with thrills, hills, and spills.\u003c/p>\n\u003cp>Thousands turned out to see 57 art cars, none of them equipped with engines or motors, hurl (and occasionally crawl) precariously downhill. The races took place on John F. Shelly Drive, an under-maintained asphalt obstacle of a street, complete with potholes, cracks, and—presenting a source of sometimes slapstick comedy for the crowd—a speed bump.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11910363","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>This was not your ordinary Indy 500-style race. Among the Soapbox Derby categories ranked by the judges: “Slowest,” “Best of the Worst” and “Most Graceful Wipeout.”\u003c/p>\n\u003cp>KGO news anchor Kumasi Aaron and KQED’s own Pendarvis Harshaw, host of \u003cem>\u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" rel=\"noopener noreferrer\" target=\"_blank\">Rightnowish\u003c/a>\u003c/em>, served as race announcers, giving color to every rattling mishap over the “cheese grater” portion of the track. Judges included musician \u003ca href=\"https://www.kqed.org/arts/13900272/de-san-francisco-para-el-mundo-la-donas-star-rises\" rel=\"noopener noreferrer\" target=\"_blank\">La Doña\u003c/a>; Dorcas Moulton, who created the famed “bread car” as \u003ca href=\"https://www.kqed.org/news/11910363/wacky-homemade-cars-will-soon-roll-down-the-hill-in-sfs-mclaren-park-again\" rel=\"noopener noreferrer\" target=\"_blank\">part of the original Soapbox Derby\u003c/a>; drag queen and educator \u003ca href=\"https://www.kqed.org/arts/13472763/storytime-and-stilettos-with-persia\" rel=\"noopener noreferrer\" target=\"_blank\">Per Sia\u003c/a>; and USC professor Amanda Pope.\u003c/p>\n\u003cp>KQED’s Beth LaBerge was there to capture the scene. See the Soapbox Derby’s colorful, creative cars, and the action that ensued, in her photos below. \u003c/p>\n\u003cfigure id=\"attachment_13911742\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911742\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/010_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alex Morris and Noah Pilchen sit in a bathtub before racing at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911748\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/097_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Whitney Shaw-Brandborg prepares to race in the pencil shaped car, created by her father Richard Shaw, at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911746\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911746\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/073_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Wondering Eye’ crashes in a part of the course called the ‘Cheese Grater’ during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911751\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911751\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/123_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Peter Taylor races behind ‘MUNI Tunes’ while crossing the finish line at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/106_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Cassandra Peña-Govea, AKA La Dona, and drag queen and educator Per Sia judge contestants during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911745\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/065_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Shrimp Car’ crosses the finish line during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911757\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55099_040_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joey Enos prepares to race his creation, the ‘Fine To Adequate Art Shipping Crate’, in the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911744\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911744\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/058_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Crumple Car’ crosses the finish line during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911753\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911753\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55075_023_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Hairy Eyeball’, created by John Casey, races during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911756\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911756\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55098_046_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Girls Garage’ leaves the startling line during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911758\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55128_079_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Announcer Pendarvis Harshaw, host of KQED’s Rightnowish, speaks during the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911743\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/034_KQEDArts_SFMOMASoapboxDerby_04102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Flora 5000’, created by Macro Waves, races at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911752\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911752\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55063_001_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cutouts of drag queens fill the window of Muni Tunes at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911760\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911760\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55137_092_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘SCRAPmobile’ creative reuse center soapbox prepares to race during the SFMOMA Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13911755\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911755\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/RS55087_030_KQEDArts_SFMOMASoapboxDerby_04102022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Flora 5000’, created by Macro Waves, races at the San Francisco Museum of Modern Art Soapbox Derby in McLaren Park, San Francisco on April 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13911741/soapbox-derby-photos-mclaren-park-san-francisco","authors":["185"],"categories":["arts_1","arts_76","arts_235"],"tags":["arts_10342","arts_10278","arts_10422","arts_2640","arts_17162","arts_746","arts_4814","arts_1146","arts_1381"],"featImg":"arts_13911747","label":"arts"},"arts_13907947":{"type":"posts","id":"arts_13907947","meta":{"index":"posts_1591205157","site":"arts","id":"13907947","score":null,"sort":[1641877429000]},"guestAuthors":[],"slug":"robert-durst-real-estate-heir-dies-in-prison-at-78","title":"Robert Durst, Real Estate Heir, Dies in Prison at 78","publishDate":1641877429,"format":"standard","headTitle":"Robert Durst, Real Estate Heir, Dies in Prison at 78 | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>LOS ANGELES — Robert Durst, the wealthy New York real estate heir and failed fugitive who was dogged for decades with suspicion in the disappearance and deaths of those around him before he was convicted of killing his best friend and sentenced to life in prison, has died. He was 78.\u003c/p>\n\u003cp>Durst died in a state prison hospital facility in Stockton, his attorney Chip Lewis said. He said it was from natural causes due to a number of health issues.\u003c/p>\n\u003cp>[aside postid='arts_12300484']Durst was convicted in September of shooting Susan Berman at point-blank range in 2000 at her Los Angeles home. He was sentenced to life Oct. 14. Two days later, \u003ca href=\"https://www.npr.org/2021/10/16/1046786931/robert-durst-covid-19\" target=\"_blank\" rel=\"noopener noreferrer\">he was hospitalized with COVID-19\u003c/a>, his trial attorney Dick DeGuerin said.\u003c/p>\n\u003cp>Durst had long been suspected of killing his wife, Kathie, who went missing in 1982 and has been declared legally dead. He was finally \u003ca href=\"https://www.npr.org/2021/11/01/1051278966/robert-durst-indicted-1982-murder-wife-kathie\" target=\"_blank\" rel=\"noopener noreferrer\">indicted in November for second-degree murder in her death\u003c/a>.\u003c/p>\n\u003ch3>The twists of the cases against him\u003c/h3>\n\u003cp>Prosecutors in Los Angeles presented evidence Durst silenced Berman because she helped him cover up Kathie’s killing and was about to talk to investigators. They also argued he killed a Texas man who discovered his identity when he was living secretly in Galveston after Berman’s killing. Durst was acquitted of murder in that case in 2003, after testifying he shot him in self-defense.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Durst discussed the cases and made several damning statements including a stunning confession during an unguarded moment in \u003ca href=\"https://www.npr.org/2021/09/17/1038465926/robert-durst-convicted-of-murder-in-best-friends-killing\" target=\"_blank\" rel=\"noopener noreferrer\">the six-part HBO documentary series \u003cem>The Jinx: The Life and Deaths of Robert Durst.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8ZabDYB7ijM\u003c/p>\n\u003cp>The show made his name known to a new generation and brought renewed scrutiny and suspicion from authorities. He was arrested in Berman’s killing the night before the final episode, which closed with him mumbling to himself in a bathroom while still wearing a hot mic saying: “You’re caught! What the hell did I do? Killed them all, of course.”\u003c/p>\n\u003cp>The quotes were later revealed to have been manipulated for dramatic effect but the production—done with Durst’s cooperation against the advice from his lawyer and friends—dredged up new evidence including an envelope that connected Durst to the scene of Berman’s killing as well as incriminating statements he made.\u003c/p>\n\u003cp>Police had received a note directing them to Berman’s home with only the word “CADAVER” written in block letters.\u003c/p>\n\u003cp>In interviews given between 2010 and 2015, Durst told the makers of the \u003cem>The Jinx\u003c/em> that he didn’t write the note, but whoever did had killed her.\u003c/p>\n\u003cp>“You’re writing a note to the police that only the killer could have written,” Durst said.\u003c/p>\n\u003cp>His defense lawyers conceded in the run-up to trial that Durst had written the note, and prosecutors said it amounted to a confession.\u003c/p>\n\u003ch3>How the trial unfolded\u003c/h3>\n\u003cp>Clips from \u003cem>The Jinx\u003c/em>, and from the 2010 movie \u003cem>All Good Things\u003c/em> in which Ryan Gosling played a fictionalized version of Durst, had starring roles at trial.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6rTd81E226U\u003c/p>\n\u003cp>As did Durst himself. His attorneys again took the risk of putting him on the stand for what turned out to be about three weeks of testimony. It didn’t work as it had in Texas.\u003c/p>\n\u003cp>Under devastating cross-examination by prosecutor John Lewin, Durst admitted he lied under oath in the past and would do it again to get out of trouble.\u003c/p>\n\u003cp>“‘Did you kill Susan Berman?’ is strictly a hypothetical,” Durst said from the stand. “I did not kill Susan Berman. But if I had, I would lie about it.”\u003c/p>\n\u003cp>The jury promptly returned a guilty verdict.\u003c/p>\n\u003cp>It long appeared he would avoid any such convictions.\u003c/p>\n\u003cp>Durst went on the run in late 2000 after New York authorities reopened an investigation into his wife’s disappearance, renting a modest apartment in Galveston and disguising himself as a mute woman.\u003c/p>\n\u003cp>In 2001, the body parts of a neighbor, Morris Black, began washing up in Galveston Bay.\u003c/p>\n\u003cp>[aside postid='pop_97139']Arrested in the killing, Durst jumped bail. He was arrested for shoplifting a sandwich six weeks later in Bethlehem, Pennsylvania, where he had gone to college. Police found $37,000 cash and two handguns in his car.\u003c/p>\n\u003cp>He would testify that Black had pulled a gun on him and died when the weapon went off during a struggle. He told jurors in detail how he bought tools and dismembered and disposed of Black’s body. He was acquitted of murder. He pleaded guilty to violating his bail, and to evidence tampering for the dismemberment. He served three years in prison.\u003c/p>\n\u003ch3>Durst’s health issues\u003c/h3>\n\u003cp>Durst had bladder cancer and his health deteriorated during the Berman trial. He was escorted into court in a wheelchair wearing prison attire each day because his attorneys said he was unable to change into a suit. But the judge declined further delays after a 14-month pause during the coronavirus pandemic.\u003c/p>\n\u003cp>DeGuerin said Durst was “very, very sick” at his sentencing hearing and it was the worst he looked in the 20 years he spent representing him.\u003c/p>\n\u003cp>Durst entered the courtroom with wide-eyed vacant stare. Near the end of the hearing after Berman’s loved ones told the judge how her death upended their lives, Durst coughed hard and then appeared to struggle to breathe. His chest heaved and he pulled his mask down below his mouth and began to gulp for air.\u003c/p>\n\u003ch3>The heir’s upbringing\u003c/h3>\n\u003cp>The son of real estate magnate Seymour Durst, Robert Durst was born April 12, 1943, and grew up in Scarsdale, New York. He would later say that at age 7, he witnessed his mother’s death in a fall from their home.\u003c/p>\n\u003cp>[aside postid='pop_109009']He graduated with an economics degree in 1965 from Lehigh University, where he played lacrosse. He entered a doctoral program at the University of California, Los Angeles, where he met Berman, but dropped out and returned to New York in 1969.\u003c/p>\n\u003cp>He became a developer in the family business, but his father passed him over to make his younger brother, and rival, Douglas the head of the Durst Organization in 1992.\u003c/p>\n\u003cp>In 1971, Robert Durst met Kathie McCormack, and the two married on his 30th birthday in 1973.\u003c/p>\n\u003cp>In January 1982, his wife was a student in her final year at medical school when she disappeared. She had shown up unexpectedly at a friend’s dinner party in Newtown, Connecticut, then left after a call from her husband to return to their home in South Salem, New York.\u003c/p>\n\u003cp>Robert Durst told police he last saw her when he put her on a train to stay at their apartment in Manhattan because she had classes the next day.\u003c/p>\n\u003cp>He would divorce her eight years later, claiming spousal abandonment, and in 2017, at her family’s request, she was declared legally dead.\u003c/p>\n\u003cp>Robert Durst is survived by his second wife Debrah Charatan, whom he married in 2000. He had no children.\u003c/p>\n\u003cp>Under California law, a conviction is vacated if a defendant dies while the case is under appeal, said Laurie Levenson, a law professor at Loyola Law School.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Lewis said an appeal was filed for Durst.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Robert+Durst%2C+real+estate+heir%2C+dies+in+prison+at+78&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Durst was sentenced to life in prison for killing Susan Berman just four months ago.","status":"publish","parent":0,"modified":1705007331,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":37,"wordCount":1251},"headData":{"title":"Robert Durst, Real Estate Heir, Dies in Prison at 78 | KQED","description":"Durst was sentenced to life in prison for killing Susan Berman just four months ago.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Robert Durst, Real Estate Heir, Dies in Prison at 78","datePublished":"2022-01-11T05:03:49.000Z","dateModified":"2024-01-11T21:08:51.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"Myung J. Chun/Pool","nprByline":"The Associated Press","nprImageAgency":"Getty Images","nprStoryId":"1071863707","nprApiLink":"http://api.npr.org/query?id=1071863707&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2022/01/10/1071863707/robert-durst-real-estate-heir-dies-in-prison-at-78?ft=nprml&f=1071863707","nprRetrievedStory":"1","nprPubDate":"Mon, 10 Jan 2022 14:40:00 -0500","nprStoryDate":"Mon, 10 Jan 2022 14:40:12 -0500","nprLastModifiedDate":"Mon, 10 Jan 2022 14:40:42 -0500","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/arts/13907947/robert-durst-real-estate-heir-dies-in-prison-at-78","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>LOS ANGELES — Robert Durst, the wealthy New York real estate heir and failed fugitive who was dogged for decades with suspicion in the disappearance and deaths of those around him before he was convicted of killing his best friend and sentenced to life in prison, has died. He was 78.\u003c/p>\n\u003cp>Durst died in a state prison hospital facility in Stockton, his attorney Chip Lewis said. He said it was from natural causes due to a number of health issues.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_12300484","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Durst was convicted in September of shooting Susan Berman at point-blank range in 2000 at her Los Angeles home. He was sentenced to life Oct. 14. Two days later, \u003ca href=\"https://www.npr.org/2021/10/16/1046786931/robert-durst-covid-19\" target=\"_blank\" rel=\"noopener noreferrer\">he was hospitalized with COVID-19\u003c/a>, his trial attorney Dick DeGuerin said.\u003c/p>\n\u003cp>Durst had long been suspected of killing his wife, Kathie, who went missing in 1982 and has been declared legally dead. He was finally \u003ca href=\"https://www.npr.org/2021/11/01/1051278966/robert-durst-indicted-1982-murder-wife-kathie\" target=\"_blank\" rel=\"noopener noreferrer\">indicted in November for second-degree murder in her death\u003c/a>.\u003c/p>\n\u003ch3>The twists of the cases against him\u003c/h3>\n\u003cp>Prosecutors in Los Angeles presented evidence Durst silenced Berman because she helped him cover up Kathie’s killing and was about to talk to investigators. They also argued he killed a Texas man who discovered his identity when he was living secretly in Galveston after Berman’s killing. Durst was acquitted of murder in that case in 2003, after testifying he shot him in self-defense.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Durst discussed the cases and made several damning statements including a stunning confession during an unguarded moment in \u003ca href=\"https://www.npr.org/2021/09/17/1038465926/robert-durst-convicted-of-murder-in-best-friends-killing\" target=\"_blank\" rel=\"noopener noreferrer\">the six-part HBO documentary series \u003cem>The Jinx: The Life and Deaths of Robert Durst.\u003c/em>\u003c/a>\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/8ZabDYB7ijM'\n title='//www.youtube.com/embed/8ZabDYB7ijM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The show made his name known to a new generation and brought renewed scrutiny and suspicion from authorities. He was arrested in Berman’s killing the night before the final episode, which closed with him mumbling to himself in a bathroom while still wearing a hot mic saying: “You’re caught! What the hell did I do? Killed them all, of course.”\u003c/p>\n\u003cp>The quotes were later revealed to have been manipulated for dramatic effect but the production—done with Durst’s cooperation against the advice from his lawyer and friends—dredged up new evidence including an envelope that connected Durst to the scene of Berman’s killing as well as incriminating statements he made.\u003c/p>\n\u003cp>Police had received a note directing them to Berman’s home with only the word “CADAVER” written in block letters.\u003c/p>\n\u003cp>In interviews given between 2010 and 2015, Durst told the makers of the \u003cem>The Jinx\u003c/em> that he didn’t write the note, but whoever did had killed her.\u003c/p>\n\u003cp>“You’re writing a note to the police that only the killer could have written,” Durst said.\u003c/p>\n\u003cp>His defense lawyers conceded in the run-up to trial that Durst had written the note, and prosecutors said it amounted to a confession.\u003c/p>\n\u003ch3>How the trial unfolded\u003c/h3>\n\u003cp>Clips from \u003cem>The Jinx\u003c/em>, and from the 2010 movie \u003cem>All Good Things\u003c/em> in which Ryan Gosling played a fictionalized version of Durst, had starring roles at trial.\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/6rTd81E226U'\n title='//www.youtube.com/embed/6rTd81E226U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As did Durst himself. His attorneys again took the risk of putting him on the stand for what turned out to be about three weeks of testimony. It didn’t work as it had in Texas.\u003c/p>\n\u003cp>Under devastating cross-examination by prosecutor John Lewin, Durst admitted he lied under oath in the past and would do it again to get out of trouble.\u003c/p>\n\u003cp>“‘Did you kill Susan Berman?’ is strictly a hypothetical,” Durst said from the stand. “I did not kill Susan Berman. But if I had, I would lie about it.”\u003c/p>\n\u003cp>The jury promptly returned a guilty verdict.\u003c/p>\n\u003cp>It long appeared he would avoid any such convictions.\u003c/p>\n\u003cp>Durst went on the run in late 2000 after New York authorities reopened an investigation into his wife’s disappearance, renting a modest apartment in Galveston and disguising himself as a mute woman.\u003c/p>\n\u003cp>In 2001, the body parts of a neighbor, Morris Black, began washing up in Galveston Bay.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_97139","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Arrested in the killing, Durst jumped bail. He was arrested for shoplifting a sandwich six weeks later in Bethlehem, Pennsylvania, where he had gone to college. Police found $37,000 cash and two handguns in his car.\u003c/p>\n\u003cp>He would testify that Black had pulled a gun on him and died when the weapon went off during a struggle. He told jurors in detail how he bought tools and dismembered and disposed of Black’s body. He was acquitted of murder. He pleaded guilty to violating his bail, and to evidence tampering for the dismemberment. He served three years in prison.\u003c/p>\n\u003ch3>Durst’s health issues\u003c/h3>\n\u003cp>Durst had bladder cancer and his health deteriorated during the Berman trial. He was escorted into court in a wheelchair wearing prison attire each day because his attorneys said he was unable to change into a suit. But the judge declined further delays after a 14-month pause during the coronavirus pandemic.\u003c/p>\n\u003cp>DeGuerin said Durst was “very, very sick” at his sentencing hearing and it was the worst he looked in the 20 years he spent representing him.\u003c/p>\n\u003cp>Durst entered the courtroom with wide-eyed vacant stare. Near the end of the hearing after Berman’s loved ones told the judge how her death upended their lives, Durst coughed hard and then appeared to struggle to breathe. His chest heaved and he pulled his mask down below his mouth and began to gulp for air.\u003c/p>\n\u003ch3>The heir’s upbringing\u003c/h3>\n\u003cp>The son of real estate magnate Seymour Durst, Robert Durst was born April 12, 1943, and grew up in Scarsdale, New York. He would later say that at age 7, he witnessed his mother’s death in a fall from their home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_109009","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>He graduated with an economics degree in 1965 from Lehigh University, where he played lacrosse. He entered a doctoral program at the University of California, Los Angeles, where he met Berman, but dropped out and returned to New York in 1969.\u003c/p>\n\u003cp>He became a developer in the family business, but his father passed him over to make his younger brother, and rival, Douglas the head of the Durst Organization in 1992.\u003c/p>\n\u003cp>In 1971, Robert Durst met Kathie McCormack, and the two married on his 30th birthday in 1973.\u003c/p>\n\u003cp>In January 1982, his wife was a student in her final year at medical school when she disappeared. She had shown up unexpectedly at a friend’s dinner party in Newtown, Connecticut, then left after a call from her husband to return to their home in South Salem, New York.\u003c/p>\n\u003cp>Robert Durst told police he last saw her when he put her on a train to stay at their apartment in Manhattan because she had classes the next day.\u003c/p>\n\u003cp>He would divorce her eight years later, claiming spousal abandonment, and in 2017, at her family’s request, she was declared legally dead.\u003c/p>\n\u003cp>Robert Durst is survived by his second wife Debrah Charatan, whom he married in 2000. He had no children.\u003c/p>\n\u003cp>Under California law, a conviction is vacated if a defendant dies while the case is under appeal, said Laurie Levenson, a law professor at Loyola Law School.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lewis said an appeal was filed for Durst.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Robert+Durst%2C+real+estate+heir%2C+dies+in+prison+at+78&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13907947/robert-durst-real-estate-heir-dies-in-prison-at-78","authors":["byline_arts_13907947"],"categories":["arts_1","arts_235"],"tags":["arts_746","arts_8366"],"affiliates":["arts_137"],"featImg":"arts_13907948","label":"arts_137"},"arts_13907623":{"type":"posts","id":"arts_13907623","meta":{"index":"posts_1591205157","site":"arts","id":"13907623","score":null,"sort":[1640988391000]},"guestAuthors":[],"slug":"betty-white-a-beloved-icon-and-actress-since-the-beginning-of-tv-has-died-at-age-99","title":"Betty White, a Beloved Icon and Actress Since the Beginning of TV, Has Died at Age 99","publishDate":1640988391,"format":"standard","headTitle":"Betty White, a Beloved Icon and Actress Since the Beginning of TV, Has Died at Age 99 | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>Betty White was on TV since \u003ca href=\"https://www.npr.org/2014/11/02/360425512/betty-white-the-golden-girl-from-the-golden-days-of-television\" target=\"_blank\" rel=\"noopener noreferrer\">the beginning of TV\u003c/a>. And in an industry where it’s often about being young and hot, White got more popular the older she got. White’s agent, Jeff Witjas, first confirmed the death of the widely beloved actress to \u003ca href=\"https://people.com/tv/betty-white-the-golden-girls-and-hot-in-cleveland-star-dead-at-99/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>People\u003c/em>\u003c/a> magazine on Friday.\u003c/p>\n\u003cp>White was best known for two characters: The first was Sue Ann Nivens from the \u003cem>Mary Tyler Moore Show\u003c/em>. White called the character “your sickeningly sweet neighborhood nymphomaniac.” And then there was the naïve Rose Nylund on \u003cem>The Golden Girls\u003c/em>, whose greatest disappointment was losing her hometown’s Butter Queen pageant due to “churn tampering.”\u003c/p>\n\u003cp>White often played characters that seemed innocent on the surface. But underneath, there was something mischievous, even sexual going on. Hosting \u003cem>Saturday Night Live\u003c/em>, she dropped double entendres during a spoof of NPR called “Delicious Dish,” joking that “my muffin hasn’t had a cherry since 1939.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=F_tVJ2rHHSA\u003c/p>\n\u003cp>White was like a maiden aunt who loved to cut loose and say something outrageous, says Barry Monush. He’s a researcher at the Paley Center for Media. “I mean, that’s the type of relative, everybody loves relatives like that, the aunt who comes over and speaks her mind, you know, and yet is sweet at the same time.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And White had been a part of the family—so to speak—for a long time. She was born January 17, 1922, into a family that loved outdoor activities like camping and hiking. Her parents also loved animals, and White was passionate about animal advocacy work throughout her life.\u003c/p>\n\u003cp>As a young woman she got involved with local theater, radio, and eventually the brand new medium of television, co-hosting a live variety show in LA in the late 40s—for five hours a day. In the 1950s White helped create a sitcom called \u003cem>Life with Elizabeth\u003c/em>; she was the star and the producer. And all through her career, she had a constant side-gig as “the first lady of game shows.”\u003c/p>\n\u003cp>“I love games and I love game shows,” she once said. “I think it’s good mental exercise. I think it keeps everybody kind of alert and kind of on his toes.”\u003c/p>\n\u003cp>She was charming, funny, and a good improviser on shows like \u003cem>What’s My Line\u003c/em>, \u003cem>Password\u003c/em>, \u003cem>The Match Game\u003c/em>, and \u003cem>Pyramid\u003c/em>. She even found love on the game show circuit, marrying the host of \u003cem>Password\u003c/em>, Allen Ludden.\u003c/p>\n\u003cp>Getting older was good for White’s career. She got her role on \u003cem>The Mary Tyler Moore Show\u003c/em> at age 51. From 63 to 70 she was one of the Golden Girls. And she never stopped after that, doing TV shows, sitcoms, movies, commercials, and live celebrity appearances.\u003c/p>\n\u003cp>Towards the end of her life you could say she cashed in big on another role—the role of Betty White. She was in her late 80s when she did a commercial for Snickers during the 2010 Super Bowl. In it, White is playing some rough and tumble football with the guys. She’s a mess on the field; she misses a throw and makes a rude remark about her opponent’s girlfriend.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3MbXGDKFC4A\u003c/p>\n\u003cp>That commercial launched her most recent success, and it showed that people of all ages seemed to be wild about White. In fact, she got the gig hosting \u003cem>Saturday Night Live\u003c/em> because of her younger fans, who launched a Facebook campaign to get her on the show.\u003c/p>\n\u003cp>Barry Monush says White had a certain coolness factor. “There’s just something about her where people are on her side. And they love that she’s in there kicking it at 90 years old.”\u003c/p>\n\u003cp>But that long career did have a down side. She’d been a widow since her husband’s death in 1981. And she outlived many of the people she knew and loved; in 2010, she choked up during an interview for \u003cem>Inside the Actors Studio\u003c/em> when the conversation turned to the three other Golden Girls, who have all died. “You lop three members of your family off and you just… you never get over it,” she said.\u003c/p>\n\u003cp>Despite that sadness, White almost always kept things funny and upbeat. In a memoir, White wrote that humor is all about rhythm. And she had outstanding timing—in her individual performances, and with her entire career.\u003c/p>\n\u003cp>That helped her roll with the punches throughout the decades, and made her popular and well-loved from her 20s to her 90s.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cHEcaz-L7LA\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Betty+White%2C+a+beloved+icon+and+actress+since+the+beginning+of+TV%2C+has+died+at+age+99&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"TV favors the young, but Betty White only got more famous—and more beloved—as she got older.","status":"publish","parent":0,"modified":1705007360,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":817},"headData":{"title":"Betty White, a Beloved Icon and Actress Since the Beginning of TV, Has Died at Age 99 | KQED","description":"TV favors the young, but Betty White only got more famous—and more beloved—as she got older.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Betty White, a Beloved Icon and Actress Since the Beginning of TV, Has Died at Age 99","datePublished":"2021-12-31T22:06:31.000Z","dateModified":"2024-01-11T21:09:20.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"Matt Sayles","nprByline":"Kyle Norris","nprImageAgency":"AP","nprStoryId":"202965627","nprApiLink":"http://api.npr.org/query?id=202965627&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2021/12/31/202965627/betty-white-death?ft=nprml&f=202965627","nprRetrievedStory":"1","nprPubDate":"Fri, 31 Dec 2021 16:43:00 -0500","nprStoryDate":"Fri, 31 Dec 2021 15:09:00 -0500","nprLastModifiedDate":"Fri, 31 Dec 2021 16:44:01 -0500","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/atc/2021/12/20211231_atc_betty_white_a_beloved_icon_and_actress_since_the_beginning_of_tv_has_died_at_age_99.mp3?orgId=1&topicId=1062&d=329&p=2&story=202965627&ft=nprml&f=202965627","nprAudioM3u":"http://api.npr.org/m3u/11069539042-a50ecf.m3u?orgId=1&topicId=1062&d=329&p=2&story=202965627&ft=nprml&f=202965627","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/arts/13907623/betty-white-a-beloved-icon-and-actress-since-the-beginning-of-tv-has-died-at-age-99","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/atc/2021/12/20211231_atc_betty_white_a_beloved_icon_and_actress_since_the_beginning_of_tv_has_died_at_age_99.mp3?orgId=1&topicId=1062&d=329&p=2&story=202965627&ft=nprml&f=202965627","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Betty White was on TV since \u003ca href=\"https://www.npr.org/2014/11/02/360425512/betty-white-the-golden-girl-from-the-golden-days-of-television\" target=\"_blank\" rel=\"noopener noreferrer\">the beginning of TV\u003c/a>. And in an industry where it’s often about being young and hot, White got more popular the older she got. White’s agent, Jeff Witjas, first confirmed the death of the widely beloved actress to \u003ca href=\"https://people.com/tv/betty-white-the-golden-girls-and-hot-in-cleveland-star-dead-at-99/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>People\u003c/em>\u003c/a> magazine on Friday.\u003c/p>\n\u003cp>White was best known for two characters: The first was Sue Ann Nivens from the \u003cem>Mary Tyler Moore Show\u003c/em>. White called the character “your sickeningly sweet neighborhood nymphomaniac.” And then there was the naïve Rose Nylund on \u003cem>The Golden Girls\u003c/em>, whose greatest disappointment was losing her hometown’s Butter Queen pageant due to “churn tampering.”\u003c/p>\n\u003cp>White often played characters that seemed innocent on the surface. But underneath, there was something mischievous, even sexual going on. Hosting \u003cem>Saturday Night Live\u003c/em>, she dropped double entendres during a spoof of NPR called “Delicious Dish,” joking that “my muffin hasn’t had a cherry since 1939.”\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/F_tVJ2rHHSA'\n title='//www.youtube.com/embed/F_tVJ2rHHSA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>White was like a maiden aunt who loved to cut loose and say something outrageous, says Barry Monush. He’s a researcher at the Paley Center for Media. “I mean, that’s the type of relative, everybody loves relatives like that, the aunt who comes over and speaks her mind, you know, and yet is sweet at the same time.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And White had been a part of the family—so to speak—for a long time. She was born January 17, 1922, into a family that loved outdoor activities like camping and hiking. Her parents also loved animals, and White was passionate about animal advocacy work throughout her life.\u003c/p>\n\u003cp>As a young woman she got involved with local theater, radio, and eventually the brand new medium of television, co-hosting a live variety show in LA in the late 40s—for five hours a day. In the 1950s White helped create a sitcom called \u003cem>Life with Elizabeth\u003c/em>; she was the star and the producer. And all through her career, she had a constant side-gig as “the first lady of game shows.”\u003c/p>\n\u003cp>“I love games and I love game shows,” she once said. “I think it’s good mental exercise. I think it keeps everybody kind of alert and kind of on his toes.”\u003c/p>\n\u003cp>She was charming, funny, and a good improviser on shows like \u003cem>What’s My Line\u003c/em>, \u003cem>Password\u003c/em>, \u003cem>The Match Game\u003c/em>, and \u003cem>Pyramid\u003c/em>. She even found love on the game show circuit, marrying the host of \u003cem>Password\u003c/em>, Allen Ludden.\u003c/p>\n\u003cp>Getting older was good for White’s career. She got her role on \u003cem>The Mary Tyler Moore Show\u003c/em> at age 51. From 63 to 70 she was one of the Golden Girls. And she never stopped after that, doing TV shows, sitcoms, movies, commercials, and live celebrity appearances.\u003c/p>\n\u003cp>Towards the end of her life you could say she cashed in big on another role—the role of Betty White. She was in her late 80s when she did a commercial for Snickers during the 2010 Super Bowl. In it, White is playing some rough and tumble football with the guys. She’s a mess on the field; she misses a throw and makes a rude remark about her opponent’s girlfriend.\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/3MbXGDKFC4A'\n title='//www.youtube.com/embed/3MbXGDKFC4A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That commercial launched her most recent success, and it showed that people of all ages seemed to be wild about White. In fact, she got the gig hosting \u003cem>Saturday Night Live\u003c/em> because of her younger fans, who launched a Facebook campaign to get her on the show.\u003c/p>\n\u003cp>Barry Monush says White had a certain coolness factor. “There’s just something about her where people are on her side. And they love that she’s in there kicking it at 90 years old.”\u003c/p>\n\u003cp>But that long career did have a down side. She’d been a widow since her husband’s death in 1981. And she outlived many of the people she knew and loved; in 2010, she choked up during an interview for \u003cem>Inside the Actors Studio\u003c/em> when the conversation turned to the three other Golden Girls, who have all died. “You lop three members of your family off and you just… you never get over it,” she said.\u003c/p>\n\u003cp>Despite that sadness, White almost always kept things funny and upbeat. In a memoir, White wrote that humor is all about rhythm. And she had outstanding timing—in her individual performances, and with her entire career.\u003c/p>\n\u003cp>That helped her roll with the punches throughout the decades, and made her popular and well-loved from her 20s to her 90s.\u003c/p>\n\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/cHEcaz-L7LA'\n title='//www.youtube.com/embed/cHEcaz-L7LA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Betty+White%2C+a+beloved+icon+and+actress+since+the+beginning+of+TV%2C+has+died+at+age+99&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13907623/betty-white-a-beloved-icon-and-actress-since-the-beginning-of-tv-has-died-at-age-99","authors":["byline_arts_13907623"],"categories":["arts_1","arts_74","arts_235","arts_1564","arts_990"],"tags":["arts_746"],"affiliates":["arts_137"],"featImg":"arts_13907634","label":"arts_137"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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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. 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