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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Since 22-year-old \u003ca href=\"https://www.seanmonterrosaproject.org/\">Sean Monterrosa\u003c/a> was killed by a Vallejo police officer in 2020, his sisters, Michelle and Ashley, have been working tirelessly to keep his name alive. For five years, they’ve been using their grief to fuel a movement to end police violence through policy advocacy and culture.\u003c/p>\n\u003cp>On Saturday, July 12, the Monterrosa sisters will honor their brother with Tucan’s Day, a celebration that offers a space to gather, grieve and get connected to healing services. The free, family-friendly block party takes place on Sean Monterrosa Boulevard — named after him in 2024 — in San Francisco’s Bernal Heights neighborhood, where Monterrosa, whose nickname was Tucan, grew up.\u003c/p>\n\u003cp>Performing at the event is Qing Qi, a multifaceted MC who can spit raunchy bars just as easily as she waxes poetic about gentrification; legendary turntablist DJ Quest; Sazón Libre, a DJ crew that throws some of the most lit Latin parties in the city; and music collective The 45s.\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/deOZ2eyKBjY'\n title='//www.youtube.com/embed/deOZ2eyKBjY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The San Francisco Public Library will be at the event with free books, and Oakland’s \u003ca href=\"https://www.kqed.org/arts/13971043/freedom-community-clinic-fruitvale-oakland-farm-orinda\">Freedom Community Clinic\u003c/a> will provide free wellness services. Other community partners include \u003ca href=\"https://www.kqed.org/arts/13918908/oakland-department-violence-prevention-curyj-restorative-justice-town-nights\">Communities United for Restorative Youth Justice\u003c/a> (CURYJ), which provides internships and fellowships for formerly incarcerated young adults and youth who’ve been impacted by the carceral and foster-care systems.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2023, California Attorney General Rob Bonta \u003ca href=\"https://www.kqed.org/news/11970483/california-ag-bonta-declines-to-charge-vallejo-officer-who-shot-killed-sean-monterrosa\">declined to criminally charge\u003c/a> Jarrett Tonn, the police officer who killed Monterrosa. After being fired, Tonn was reinstated to the Vallejo Police Department that year. Despite their devastation, the Monterrosa sisters have continued to advocate for better opportunities for working-class youth like their brother.\u003c/p>\n\u003cp>Sean Monterrosa Boulevard T-shirts will be for sale at the event to fundraise for a scholarship in Monterrosa’s honor at the City College of San Francisco.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tucan’s Day takes place on Sean Monterrosa Boulevard, at Holly Circle and Park Street, in San Francisco on July 12, 12–6 p.m. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the current national discourse, once-prevalent concerns about police brutality have taken a backseat to conflict overseas, domestic abortion bans and a presidential candidate who is facing multiple court cases. And yet, four years after the summer of 2020’s nationwide protests and calls for accountability, the issue of officers using excessive force persists at an alarming rate.\u003c/p>\n\u003cp>According to data collected by the nonprofit \u003ca href=\"https://mappingpoliceviolence.us/\" target=\"_blank\" rel=\"noopener\">Mapping Police Violence\u003c/a>, 2023 brought the highest in the past decade, and 2024 is on a similar pace.\u003c/p>\n\u003cfigure id=\"attachment_13956735\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956735 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_4593-800x533.jpg\" alt=\"Woman with video camera sits in the middle of a room surrounded by four other women, all laughing and smiling. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_4593-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_4593-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_4593-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_4593-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_4593-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_4593.jpg 1728w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker Débora Souza Silva, shown sitting on the ground with her camera, documents a discussion among mothers who’ve lost children to police brutality. \u003ccite>(Courtesy of Débora Souza Silva)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area-based journalist and filmmaker \u003ca href=\"https://www.debsilva.com/\" target=\"_blank\" rel=\"noopener\">Débora Souza Silva\u003c/a> sees this as a call to action. She’s urging others to refocus their collective attention on police brutality by listening to the stories of the survivors and readdressing the issue’s root causes.\u003c/p>\n\u003cp>Souza Silva’s documentary film, \u003cem>For Our Children\u003c/em>, gives audiences an intimate look at the lives of those who’ve experienced police brutality, and the toll it takes on their families.\u003c/p>\n\u003cp>\u003cem>For Our Children\u003c/em> was acquired by \u003ca href=\"https://variety.com/2024/film/news/for-our-children-netflix-1235983377/\" target=\"_blank\" rel=\"noopener\">Array Releasing\u003c/a> and will begin streaming on Netflix on May 10. On Wednesday, May 1, Oakland’s \u003ca href=\"https://73279.formovietickets.com:2235/T.ASP?WCI=BT&RtsPurchaseId=81e2aba6-529e-415d-ab9a-0ec7dd6d588b&Page=PickTickets&SHOWID=61653\" target=\"_blank\" rel=\"noopener\">Grand Lake Theatre\u003c/a> will host a premiere and Q&A session with Souza Silva and select people featured in the movie, including Rev. Wanda Johnson, mother of the late \u003ca href=\"https://www.kqed.org/news/tag/oscar-grant-10-years\" target=\"_blank\" rel=\"noopener\">Oscar Grant.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After Grant was killed at the Fruitvale BART station by former BART police officer Johannes Mehserle in 2009, Rev. Johnson and family founded the \u003ca href=\"https://oscargrantfoundation.org/wandaspeaks/\" target=\"_blank\" rel=\"noopener\">Oscar Grant Foundation\u003c/a>, and began working with mothers around the nation whose children were killed by police.\u003c/p>\n\u003cp>The 90-minute film opens with Rev. Johnson hosting an event during which mothers of those killed by police eat, pray, and grieve together, while taking time to intentionally say the names of their loved ones.\u003c/p>\n\u003cp>Rev. Johnson points out the relatives of \u003ca href=\"https://apnews.com/article/shootings-police-us-news-st-louis-michael-brown-9aa32033692547699a3b61da8fd1fc62\" target=\"_blank\" rel=\"noopener\">Michael Brown\u003c/a>, \u003ca href=\"https://apnews.com/hub/eric-garner\" target=\"_blank\" rel=\"noopener\">Eric Garner\u003c/a> and \u003ca href=\"https://apnews.com/hub/sandra-bland\" target=\"_blank\" rel=\"noopener\">Sandra Bland\u003c/a>. Some women dress in their Sunday’s best, while others wear shirts with airbrushed faces on them. Rev. Johnson steps to the center of the room and declares that despite mourning and dealing with grief, “You’ve got to make your child’s name known… fight for your child. Hallelujah.”\u003c/p>\n\u003cfigure id=\"attachment_13956770\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956770 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_3383-800x1067.jpg\" alt=\"Woman with video camera kneels down to document three individuals standing in front of a mural.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_3383-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_3383-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_3383-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_3383.jpg 864w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker Débora Souza Silva films as the family of Oscar Grant stands in front of a mural created in his honor at Fruitvale BART Station in Oakland. \u003ccite>(Courtesy of Débora Souza Silva )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Exemplifying that fight in \u003cem>For Our Children\u003c/em> is the story of Angela Williams, from Troy, Ala., the mother of a teenager named Ulysses. In the aftermath of her son surviving a beating by local police that left his face disfigured, Williams says that though Ulysses is fortunate to be alive, he “was emotionally killed.”\u003c/p>\n\u003cp>After Williams contacts Rev. Johnson, the two work with a team of lawyers and community members to understand what really led to the altercation between officers and Ulysses, and how to attain justice for the young man.\u003c/p>\n\u003cp>Souza Silva is tenacious about the systemic forces that encourage police violence; she also knows the way toward real change is by being there after the headlines are gone and the TV cameras have moved on to the next story.\u003c/p>\n\u003cp>“The film is a study in sustained and compassionate listening,” Souza Silva says in a statement about the film. “Rather than reduce these women to a one-dimensional portrait of grief, we have immersed ourselves into the mothers’ homes and communities, attempting to create an intimate, nuanced and honest portrait of their lives, their struggles and their resiliency.”\u003c/p>\n\u003cp>If something is going to change when it comes to police brutality in America, it’s going to take the masses hearing from those closest to the issue. And who knows this story more intimately than those who’ve been directly impacted?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘For Our Children’ screens at the Grand Lake Theatre in Oakland, followed by a panel discussion and Q&A with the filmmakers and Rev. Wanda Johnson, on Wednesday, May 1 at 7:15 p.m. \u003ca href=\"https://73279.formovietickets.com:2235/T.ASP?WCI=BT&RtsPurchaseId=81e2aba6-529e-415d-ab9a-0ec7dd6d588b&Page=PickTickets&SHOWID=61653\">Details here\u003c/a>. The film will be available for streaming on Netflix starting May 10.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the current national discourse, once-prevalent concerns about police brutality have taken a backseat to conflict overseas, domestic abortion bans and a presidential candidate who is facing multiple court cases. And yet, four years after the summer of 2020’s nationwide protests and calls for accountability, the issue of officers using excessive force persists at an alarming rate.\u003c/p>\n\u003cp>According to data collected by the nonprofit \u003ca href=\"https://mappingpoliceviolence.us/\" target=\"_blank\" rel=\"noopener\">Mapping Police Violence\u003c/a>, 2023 brought the highest in the past decade, and 2024 is on a similar pace.\u003c/p>\n\u003cfigure id=\"attachment_13956735\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956735 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_4593-800x533.jpg\" alt=\"Woman with video camera sits in the middle of a room surrounded by four other women, all laughing and smiling. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_4593-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_4593-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_4593-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_4593-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_4593-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_4593.jpg 1728w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker Débora Souza Silva, shown sitting on the ground with her camera, documents a discussion among mothers who’ve lost children to police brutality. \u003ccite>(Courtesy of Débora Souza Silva)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area-based journalist and filmmaker \u003ca href=\"https://www.debsilva.com/\" target=\"_blank\" rel=\"noopener\">Débora Souza Silva\u003c/a> sees this as a call to action. She’s urging others to refocus their collective attention on police brutality by listening to the stories of the survivors and readdressing the issue’s root causes.\u003c/p>\n\u003cp>Souza Silva’s documentary film, \u003cem>For Our Children\u003c/em>, gives audiences an intimate look at the lives of those who’ve experienced police brutality, and the toll it takes on their families.\u003c/p>\n\u003cp>\u003cem>For Our Children\u003c/em> was acquired by \u003ca href=\"https://variety.com/2024/film/news/for-our-children-netflix-1235983377/\" target=\"_blank\" rel=\"noopener\">Array Releasing\u003c/a> and will begin streaming on Netflix on May 10. On Wednesday, May 1, Oakland’s \u003ca href=\"https://73279.formovietickets.com:2235/T.ASP?WCI=BT&RtsPurchaseId=81e2aba6-529e-415d-ab9a-0ec7dd6d588b&Page=PickTickets&SHOWID=61653\" target=\"_blank\" rel=\"noopener\">Grand Lake Theatre\u003c/a> will host a premiere and Q&A session with Souza Silva and select people featured in the movie, including Rev. Wanda Johnson, mother of the late \u003ca href=\"https://www.kqed.org/news/tag/oscar-grant-10-years\" target=\"_blank\" rel=\"noopener\">Oscar Grant.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After Grant was killed at the Fruitvale BART station by former BART police officer Johannes Mehserle in 2009, Rev. Johnson and family founded the \u003ca href=\"https://oscargrantfoundation.org/wandaspeaks/\" target=\"_blank\" rel=\"noopener\">Oscar Grant Foundation\u003c/a>, and began working with mothers around the nation whose children were killed by police.\u003c/p>\n\u003cp>The 90-minute film opens with Rev. Johnson hosting an event during which mothers of those killed by police eat, pray, and grieve together, while taking time to intentionally say the names of their loved ones.\u003c/p>\n\u003cp>Rev. Johnson points out the relatives of \u003ca href=\"https://apnews.com/article/shootings-police-us-news-st-louis-michael-brown-9aa32033692547699a3b61da8fd1fc62\" target=\"_blank\" rel=\"noopener\">Michael Brown\u003c/a>, \u003ca href=\"https://apnews.com/hub/eric-garner\" target=\"_blank\" rel=\"noopener\">Eric Garner\u003c/a> and \u003ca href=\"https://apnews.com/hub/sandra-bland\" target=\"_blank\" rel=\"noopener\">Sandra Bland\u003c/a>. Some women dress in their Sunday’s best, while others wear shirts with airbrushed faces on them. Rev. Johnson steps to the center of the room and declares that despite mourning and dealing with grief, “You’ve got to make your child’s name known… fight for your child. Hallelujah.”\u003c/p>\n\u003cfigure id=\"attachment_13956770\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956770 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_3383-800x1067.jpg\" alt=\"Woman with video camera kneels down to document three individuals standing in front of a mural.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_3383-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_3383-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_3383-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_3383.jpg 864w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Filmmaker Débora Souza Silva films as the family of Oscar Grant stands in front of a mural created in his honor at Fruitvale BART Station in Oakland. \u003ccite>(Courtesy of Débora Souza Silva )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Exemplifying that fight in \u003cem>For Our Children\u003c/em> is the story of Angela Williams, from Troy, Ala., the mother of a teenager named Ulysses. In the aftermath of her son surviving a beating by local police that left his face disfigured, Williams says that though Ulysses is fortunate to be alive, he “was emotionally killed.”\u003c/p>\n\u003cp>After Williams contacts Rev. Johnson, the two work with a team of lawyers and community members to understand what really led to the altercation between officers and Ulysses, and how to attain justice for the young man.\u003c/p>\n\u003cp>Souza Silva is tenacious about the systemic forces that encourage police violence; she also knows the way toward real change is by being there after the headlines are gone and the TV cameras have moved on to the next story.\u003c/p>\n\u003cp>“The film is a study in sustained and compassionate listening,” Souza Silva says in a statement about the film. “Rather than reduce these women to a one-dimensional portrait of grief, we have immersed ourselves into the mothers’ homes and communities, attempting to create an intimate, nuanced and honest portrait of their lives, their struggles and their resiliency.”\u003c/p>\n\u003cp>If something is going to change when it comes to police brutality in America, it’s going to take the masses hearing from those closest to the issue. And who knows this story more intimately than those who’ve been directly impacted?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘For Our Children’ screens at the Grand Lake Theatre in Oakland, followed by a panel discussion and Q&A with the filmmakers and Rev. Wanda Johnson, on Wednesday, May 1 at 7:15 p.m. \u003ca href=\"https://73279.formovietickets.com:2235/T.ASP?WCI=BT&RtsPurchaseId=81e2aba6-529e-415d-ab9a-0ec7dd6d588b&Page=PickTickets&SHOWID=61653\">Details here\u003c/a>. The film will be available for streaming on Netflix starting May 10.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Watch Adrian L. Burrell's 'The Game God(s)'",
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"content": "\u003cp>We live in two Americas. This is a long-established fact in the United States, and it’s at the core of Adrian L. Burrell’s new film, \u003cem>The Game God(S)\u003c/em>, which \u003ca href=\"https://www.newyorker.com/culture/the-new-yorker-documentary/shaking-the-foundations-of-the-american-dream\" rel=\"noopener noreferrer\" target=\"_blank\">premiered today via the \u003cem>New Yorker\u003c/em>\u003c/a>. \u003c/p>\n\u003cp>Across the film’s 17 minutes, Burrell, raised in Oakland, doesn’t dissect the myth of the American Dream so much as impart the visceral feeling of its central lie to the viewer. Throughout, Oakland poet laureate Ayodele Nzinga delivers a vivid monologue, as Burrell’s camera visits people who’ve made lives both in and out of the game—hustling, pimping, dealing—and navigating an alternate economy made necessary by American capitalism’s 400-year-old churn against Black people. \u003c/p>\n\u003cp>[aside postID=arts_13852433,arts_13894843]Burrell is no stranger to the ways the cards are stacked. In 2019, his footage of a Vallejo police officer assaulting him on his front porch showed how, as he told the \u003cem>New Yorker\u003c/em>, “at any given moment you can be snatched back to 1942.” \u003c/p>\n\u003cp>Watch \u003cem>The Game God(S)\u003c/em> above.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "A new film by the Oakland-raised artist dispels the myth of the American Dream. ",
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"title": "Watch Adrian L. Burrell's 'The Game God(s)' | KQED",
"description": "A new film by the Oakland-raised artist dispels the myth of the American Dream. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We live in two Americas. This is a long-established fact in the United States, and it’s at the core of Adrian L. Burrell’s new film, \u003cem>The Game God(S)\u003c/em>, which \u003ca href=\"https://www.newyorker.com/culture/the-new-yorker-documentary/shaking-the-foundations-of-the-american-dream\" rel=\"noopener noreferrer\" target=\"_blank\">premiered today via the \u003cem>New Yorker\u003c/em>\u003c/a>. \u003c/p>\n\u003cp>Across the film’s 17 minutes, Burrell, raised in Oakland, doesn’t dissect the myth of the American Dream so much as impart the visceral feeling of its central lie to the viewer. Throughout, Oakland poet laureate Ayodele Nzinga delivers a vivid monologue, as Burrell’s camera visits people who’ve made lives both in and out of the game—hustling, pimping, dealing—and navigating an alternate economy made necessary by American capitalism’s 400-year-old churn against Black people. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Burrell is no stranger to the ways the cards are stacked. In 2019, his footage of a Vallejo police officer assaulting him on his front porch showed how, as he told the \u003cem>New Yorker\u003c/em>, “at any given moment you can be snatched back to 1942.” \u003c/p>\n\u003cp>Watch \u003cem>The Game God(S)\u003c/em> above.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>ver the past year, the COVID-19 pandemic has caused millions of people around the world to die, and many more to suffer. Arguably, the most unnerving part is how this time period will affect generations to come.\u003c/p>\n\u003cp>That said, I don’t want to see some fluffy reflection on COVID-19.\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>I don’t care that you switched your wardrobe to be more comfortable while you worked from home, or that you successfully made sourdough bread. In this country alone, over half a million people have died directly from COVID-19, not to mention those dead from medical complications indirectly related to the virus.\u003c/p>\n\u003cp>People are feeling down, suicides and overdoses are up, and depression is damn near expected. Children are falling behind in their studies, and elders are spending their golden years in solitude. You want the world to know about the beauty of an air fryer? Save it.\u003c/p>\n\u003cp>The homicide count in a number of U.S. cities, including San Francisco, Oakland, San Jose and Stockton, has risen by \u003ca href=\"https://www.npr.org/2021/01/06/953254623/massive-1-year-rise-in-homicide-rates-collided-with-the-pandemic-in-2020\">significant percentages\u003c/a> over the year prior.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Late last spring, when that nationwide spark of activism jumped into people and had ‘em pouring into the street chanting “Black Lives Matter” from Philadelphia to Pleasanton, all it resulted in were minor here-and-there policy changes, including the highly flawed \u003ca href=\"https://www.theguardian.com/commentisfree/2021/mar/04/the-george-floyd-act-wouldnt-have-saved-george-floyds-life-thats-says-it-all\">George Floyd Act\u003c/a>. There’s also an ongoing tug-of-war around defunding or decreasing the amount spent on police departments in a number of cities; despite the Minneapolis city council’s pledge last June to \u003ca href=\"https://www.nytimes.com/2020/06/07/us/minneapolis-police-abolish.html\" target=\"_blank\" rel=\"noopener noreferrer\">dismantle its police department\u003c/a>, it just voted for $6.4 million to \u003ca href=\"https://www.minnpost.com/glean/2021/02/minneapolis-city-council-votes-to-spend-6-4-million-on-new-police-officers/\" target=\"_blank\" rel=\"noopener noreferrer\">hire more officers\u003c/a>. The TV show \u003cem>COPS\u003c/em> was canceled for a few months before \u003ca href=\"https://deadline.com/2020/10/cops-back-in-production-new-episodes-following-cancellation-1234590025/\">being reinstated\u003c/a>.\u003c/p>\n\u003cp>The trial for \u003ca href=\"https://www.npr.org/2021/03/09/975188994/george-floyd-case-jury-selection-begins-in-derek-chauvin-trial\" target=\"_blank\" rel=\"noopener noreferrer\">Derek Chauvin\u003c/a>, the officer who killed Floyd, is “tentatively” underway as of this week. Something tells me I already know the outcome.\u003c/p>\n\u003cfigure id=\"attachment_13893771\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13893771\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/ESy-ITmU0AEh6dG-800x1067.jpg\" alt='March 10, 2020: the last \"regular\" day.' width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/ESy-ITmU0AEh6dG-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/ESy-ITmU0AEh6dG-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/ESy-ITmU0AEh6dG-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/ESy-ITmU0AEh6dG-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/ESy-ITmU0AEh6dG-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/ESy-ITmU0AEh6dG.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">March 10, 2020: the last “regular” day. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>ook, this year has been heavy. I get it. As a relief from this dark cloud, I wanted to write a fluff piece too.\u003c/p>\n\u003cp>I had this poetic idea to drop a column about my interaction with the skies over the past year. It all started with the photo I took exactly a year ago yesterday. The clouds were sorbet orange; lightweight majestic, especially that part that looked like a gaping hole in the sky.\u003c/p>\n\u003cp>Below, on the banks of the east side of Lake Merritt, unmasked people stood within close vicinity of each other while taking photos of the airshow. I was there with them only because my final in-person interview of the past year had been canceled.\u003c/p>\n\u003cp>Around the same time, KQED sent out the email telling us to work from home for the foreseeable future. And in the following days, I can’t tell you how many times I’d stare at the big blue beyond in frustration at the lack of leadership from the president and other elected officials.\u003c/p>\n\u003cp>Spring turned to summer and my big-hook-head continued to turn upward, watching helicopters circling the city as people poured into the streets to protest police brutality—thousands of people motivated by the news of George Floyd’s murder and the extrajudicial killing of Breonna Taylor. (The case against Taylor’s boyfriend, \u003ca href=\"https://www.huffpost.com/entry/kenneth-walker-shooting-criminal-case-closed_n_60476fe4c5b64433749f7655\" target=\"_blank\" rel=\"noopener noreferrer\">Kenneth Walker\u003c/a>, was dismissed earlier this week.)\u003c/p>\n\u003cp>I spent a few days this summer watching the sky as ashes from nearby wildfires landed on my little patio garden. Lack of investment in the state’s frail electrical infrastructure meant that, once again, it turned destructive under elevated temperatures and high winds. Fire season was a haze, but no one will soon forget Sept. 9, 2020: \u003ca href=\"https://www.kqed.org/arts/13886045/people-are-surfing-under-smoky-orange-skies-in-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">the Day of the Orange Skies\u003c/a>.\u003c/p>\n\u003cp>Over the course of the year I looked up at fireworks, and nervously looked around after hearing gunshots. There was that one night in August when I stood on a hillside of the Yolo Bypass, watching the late summer sun dip below the horizon in the distance. Simultaneously, a full moon arose from the other side of California’s capitol city. As soon as \u003cem>la luna\u003c/em> showed her big beautiful face, a bunch of bats came out of nowhere. I instantly dipped.\u003c/p>\n\u003cp>Bats, though visually impaired, know it’s nighttime because of their \u003ca href=\"https://www.thenakedscientists.com/articles/questions/how-do-bats-know-it-night-time\" target=\"_blank\" rel=\"noopener noreferrer\">circadian clock\u003c/a>‘s “\u003ca href=\"https://www.thenakedscientists.com/articles/questions/how-do-bats-know-it-night-time\" target=\"_blank\" rel=\"noopener noreferrer\">suprachiasmatic nucleus\u003c/a>.” I read about that while laying on my back in my bed at 3am—my own internal clock thrown off because of COVID/stress/dietary decisions, and once again staring up: this time at my phone; as well as the ceiling, the sky, the universe.\u003c/p>\n\u003cp>I thought writing about clouds and shit would be poetic. And then I’d bring it home by mentioning that just about everyone under the sun was dealing with the same issue.\u003c/p>\n\u003cp>And then I got grounded.\u003c/p>\n\u003cfigure id=\"attachment_13885203\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885203\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Ef52QJUVoAY0kx0-800x600.jpg\" alt=\"The sign outside of California Medical Facility state prison in Vacaville, on a smoky hot August afternoon\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Ef52QJUVoAY0kx0-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Ef52QJUVoAY0kx0-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Ef52QJUVoAY0kx0-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Ef52QJUVoAY0kx0-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Ef52QJUVoAY0kx0-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Ef52QJUVoAY0kx0-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Ef52QJUVoAY0kx0.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The sign outside of California Medical Facility state prison in Vacaville, on a smoky hot August afternoon. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hat about the stories of the \u003cem>actual\u003c/em> \u003cem>people\u003c/em>? Particularly the ones I haven’t had a chance to write about, because other issues in this high-paced news cycle demanded my attention?\u003c/p>\n\u003cp>Last spring I got word that Alameda County’s food program wasn’t getting to a 67-year-old woman named \u003ca href=\"https://twitter.com/OGpenn/status/1258993110320680960?s=20\">Paula\u003c/a>, so she looked up, down and all around, and found a neighbor or two to assist her with groceries. I wanted to write about her in May, but I was occupied by that whole national upheaval about racism and police brutality.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/chris_tha_fifth/\" target=\"_blank\" rel=\"noopener noreferrer\">Chris Tha Fifth\u003c/a>, an author and rapper who was formerly incarcerated at Solano County State Prison in Vacaville, told me that prior to his release, he too spent time looking up—looking up at smoke filling the prison he was in. I wanted to write about him last fall, but got sidetracked by the sideshow of \u003ca href=\"https://www.kqed.org/arts/13888677/as-famous-rappers-get-used-as-pawns-meet-the-black-men-doing-the-real-work\" target=\"_blank\" rel=\"noopener noreferrer\">African-American male entertainers selling out\u003c/a> during election season.\u003c/p>\n\u003cp>He’s one of thousands of people who’ve been released from prison this year. As of March 3, 2021, California’s prison population has \u003ca href=\"https://www.cdcr.ca.gov/research/wp-content/uploads/sites/174/2021/03/Tpop1d210303.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">decreased by 28,454\u003c/a> over the past calendar year. We have the lowest number of prisoners here in California in three decades, and still the prison system is at 102.8% of its capacity.\u003c/p>\n\u003cp>And while the state says it \u003ca href=\"https://www.cdcr.ca.gov/covid19/frequently-asked-questions-expedited-releases/\" target=\"_blank\" rel=\"noopener noreferrer\">tried to quell the spread of COVID-19\u003c/a> in its prisons, \u003ca href=\"https://www.cdcr.ca.gov/covid19/population-status-tracking/\" target=\"_blank\" rel=\"noopener noreferrer\">over 200 people have died\u003c/a>, and many more were sick.\u003c/p>\n\u003cp>Prison officials tell me this decrease in population has led to the consolidation of incarcerated firefighter groups and the closure of at least one institution, \u003ca href=\"https://www.cdcr.ca.gov/news/2020/09/25/cdcr-announces-state-prison-closure/\" target=\"_blank\" rel=\"noopener noreferrer\">Deuel Vocational Institution in Tracy\u003c/a>.\u003c/p>\n\u003cp>Keith Wattley, founder of \u003ca href=\"https://www.uncommonlaw.org/keith-wattley\" target=\"_blank\" rel=\"noopener noreferrer\">UnCommon Law\u003c/a> and an \u003ca href=\"https://www.obama.org/fellowship/2018-fellows/keith-wattley/\" target=\"_blank\" rel=\"noopener noreferrer\">Obama fellow\u003c/a>, tells me there’s still more that can be done to alleviate California’s overcrowded prisons. “One of the most significant data points,” says Wattley via email, “is that people serving indeterminate terms (i.e., those whose release is dependent on the parole board and the Governor) now represent nearly 40% of California’s prison population! That’s because they’ve been systematically and consistently excluded from release consideration, even though they present by far the lowest risk of recidivism.”\u003c/p>\n\u003cp>I had plans on writing that article in January, but instead I spent a solid portion of the first week of 2021 looking up the definition of “domestic terrorism,” and then looking skyward in bewilderment that it wasn’t being applied to \u003ca href=\"https://www.kqed.org/arts/13890913/they-think-this-is-their-country\" target=\"_blank\" rel=\"noopener noreferrer\">the siege on the U.S. Capitol Building.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13893907\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13893907\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/SHelterInPlaceWithoutShelter-800x500.jpg\" alt='Graffiti on an underpass in Oakland: \"Shelter in Place Without a Shelter.\"' width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SHelterInPlaceWithoutShelter-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SHelterInPlaceWithoutShelter-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SHelterInPlaceWithoutShelter-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SHelterInPlaceWithoutShelter-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SHelterInPlaceWithoutShelter-1536x960.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SHelterInPlaceWithoutShelter.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Graffiti on an underpass in Oakland: “Shelter in Place Without a Shelter.” \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>here were also so many times this year I found myself looking down. Disconnected, distraught, disgusted and lost. Or over-connected, staring at my laptop, trying to write/right the wrongs of the world, or on my phone figuring out what’s going on with this planet.\u003c/p>\n\u003cp>Sometimes looking down while jogging, running away from problems. Other times in a downward stare: inebriated, and sulking in my issues. On a few occasions I was punch drunk—walloped from family drama, unhealthy habits, and the fatigue of simply existing during a global pandemic.\u003c/p>\n\u003cp>In writing that fluffy piece about my interaction with the skies, I was going to end on some trite overused line from Tupac (“keep your head up”) or Earth, Wind, And Fire (“keep your head to the sky”).\u003c/p>\n\u003cp>But there’s another overused popular piece of poetry that’s more applicable.\u003c/p>\n\u003cp>“You will not be able to stay home, brother/You will not be able to plug in, turn on and cop out,” says poet Gil Scott-Heron, in the opening lines of his most famous piece, “The Revolution Will Not Be Televised,” published 50 years ago.\u003c/p>\n\u003cp>I thought about that line a lot these past 365 days.\u003c/p>\n\u003cp>That fluff is unplugging. It’s a mechanism for dealing with things by avoiding them.\u003c/p>\n\u003cp>And I get it. Again, I wanted to wax poetic about clouds and shit. But 50, 100 years from now, future generations will ask what happened during this time, and it’s important we don’t bury the lede: the country that invests the largest amount of money in defense couldn’t defend its most vulnerable people from a virus that impacted countries the world over.\u003c/p>\n\u003cp>And in this country, working class and poor people suffered while \u003ca href=\"https://www.kqed.org/arts/13882749/why-billionaires-got-more-hateable-in-the-age-of-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">the rich got richer\u003c/a>. It was a continuance of the past, and predicator of what’s to come.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Nothing fluffy about it.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>ver the past year, the COVID-19 pandemic has caused millions of people around the world to die, and many more to suffer. Arguably, the most unnerving part is how this time period will affect generations to come.\u003c/p>\n\u003cp>That said, I don’t want to see some fluffy reflection on COVID-19.\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>I don’t care that you switched your wardrobe to be more comfortable while you worked from home, or that you successfully made sourdough bread. In this country alone, over half a million people have died directly from COVID-19, not to mention those dead from medical complications indirectly related to the virus.\u003c/p>\n\u003cp>People are feeling down, suicides and overdoses are up, and depression is damn near expected. Children are falling behind in their studies, and elders are spending their golden years in solitude. You want the world to know about the beauty of an air fryer? Save it.\u003c/p>\n\u003cp>The homicide count in a number of U.S. cities, including San Francisco, Oakland, San Jose and Stockton, has risen by \u003ca href=\"https://www.npr.org/2021/01/06/953254623/massive-1-year-rise-in-homicide-rates-collided-with-the-pandemic-in-2020\">significant percentages\u003c/a> over the year prior.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Late last spring, when that nationwide spark of activism jumped into people and had ‘em pouring into the street chanting “Black Lives Matter” from Philadelphia to Pleasanton, all it resulted in were minor here-and-there policy changes, including the highly flawed \u003ca href=\"https://www.theguardian.com/commentisfree/2021/mar/04/the-george-floyd-act-wouldnt-have-saved-george-floyds-life-thats-says-it-all\">George Floyd Act\u003c/a>. There’s also an ongoing tug-of-war around defunding or decreasing the amount spent on police departments in a number of cities; despite the Minneapolis city council’s pledge last June to \u003ca href=\"https://www.nytimes.com/2020/06/07/us/minneapolis-police-abolish.html\" target=\"_blank\" rel=\"noopener noreferrer\">dismantle its police department\u003c/a>, it just voted for $6.4 million to \u003ca href=\"https://www.minnpost.com/glean/2021/02/minneapolis-city-council-votes-to-spend-6-4-million-on-new-police-officers/\" target=\"_blank\" rel=\"noopener noreferrer\">hire more officers\u003c/a>. The TV show \u003cem>COPS\u003c/em> was canceled for a few months before \u003ca href=\"https://deadline.com/2020/10/cops-back-in-production-new-episodes-following-cancellation-1234590025/\">being reinstated\u003c/a>.\u003c/p>\n\u003cp>The trial for \u003ca href=\"https://www.npr.org/2021/03/09/975188994/george-floyd-case-jury-selection-begins-in-derek-chauvin-trial\" target=\"_blank\" rel=\"noopener noreferrer\">Derek Chauvin\u003c/a>, the officer who killed Floyd, is “tentatively” underway as of this week. Something tells me I already know the outcome.\u003c/p>\n\u003cfigure id=\"attachment_13893771\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13893771\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/ESy-ITmU0AEh6dG-800x1067.jpg\" alt='March 10, 2020: the last \"regular\" day.' width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/ESy-ITmU0AEh6dG-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/ESy-ITmU0AEh6dG-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/ESy-ITmU0AEh6dG-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/ESy-ITmU0AEh6dG-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/ESy-ITmU0AEh6dG-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/ESy-ITmU0AEh6dG.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">March 10, 2020: the last “regular” day. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>ook, this year has been heavy. I get it. As a relief from this dark cloud, I wanted to write a fluff piece too.\u003c/p>\n\u003cp>I had this poetic idea to drop a column about my interaction with the skies over the past year. It all started with the photo I took exactly a year ago yesterday. The clouds were sorbet orange; lightweight majestic, especially that part that looked like a gaping hole in the sky.\u003c/p>\n\u003cp>Below, on the banks of the east side of Lake Merritt, unmasked people stood within close vicinity of each other while taking photos of the airshow. I was there with them only because my final in-person interview of the past year had been canceled.\u003c/p>\n\u003cp>Around the same time, KQED sent out the email telling us to work from home for the foreseeable future. And in the following days, I can’t tell you how many times I’d stare at the big blue beyond in frustration at the lack of leadership from the president and other elected officials.\u003c/p>\n\u003cp>Spring turned to summer and my big-hook-head continued to turn upward, watching helicopters circling the city as people poured into the streets to protest police brutality—thousands of people motivated by the news of George Floyd’s murder and the extrajudicial killing of Breonna Taylor. (The case against Taylor’s boyfriend, \u003ca href=\"https://www.huffpost.com/entry/kenneth-walker-shooting-criminal-case-closed_n_60476fe4c5b64433749f7655\" target=\"_blank\" rel=\"noopener noreferrer\">Kenneth Walker\u003c/a>, was dismissed earlier this week.)\u003c/p>\n\u003cp>I spent a few days this summer watching the sky as ashes from nearby wildfires landed on my little patio garden. Lack of investment in the state’s frail electrical infrastructure meant that, once again, it turned destructive under elevated temperatures and high winds. Fire season was a haze, but no one will soon forget Sept. 9, 2020: \u003ca href=\"https://www.kqed.org/arts/13886045/people-are-surfing-under-smoky-orange-skies-in-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">the Day of the Orange Skies\u003c/a>.\u003c/p>\n\u003cp>Over the course of the year I looked up at fireworks, and nervously looked around after hearing gunshots. There was that one night in August when I stood on a hillside of the Yolo Bypass, watching the late summer sun dip below the horizon in the distance. Simultaneously, a full moon arose from the other side of California’s capitol city. As soon as \u003cem>la luna\u003c/em> showed her big beautiful face, a bunch of bats came out of nowhere. I instantly dipped.\u003c/p>\n\u003cp>Bats, though visually impaired, know it’s nighttime because of their \u003ca href=\"https://www.thenakedscientists.com/articles/questions/how-do-bats-know-it-night-time\" target=\"_blank\" rel=\"noopener noreferrer\">circadian clock\u003c/a>‘s “\u003ca href=\"https://www.thenakedscientists.com/articles/questions/how-do-bats-know-it-night-time\" target=\"_blank\" rel=\"noopener noreferrer\">suprachiasmatic nucleus\u003c/a>.” I read about that while laying on my back in my bed at 3am—my own internal clock thrown off because of COVID/stress/dietary decisions, and once again staring up: this time at my phone; as well as the ceiling, the sky, the universe.\u003c/p>\n\u003cp>I thought writing about clouds and shit would be poetic. And then I’d bring it home by mentioning that just about everyone under the sun was dealing with the same issue.\u003c/p>\n\u003cp>And then I got grounded.\u003c/p>\n\u003cfigure id=\"attachment_13885203\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885203\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Ef52QJUVoAY0kx0-800x600.jpg\" alt=\"The sign outside of California Medical Facility state prison in Vacaville, on a smoky hot August afternoon\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Ef52QJUVoAY0kx0-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Ef52QJUVoAY0kx0-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Ef52QJUVoAY0kx0-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Ef52QJUVoAY0kx0-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Ef52QJUVoAY0kx0-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Ef52QJUVoAY0kx0-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Ef52QJUVoAY0kx0.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The sign outside of California Medical Facility state prison in Vacaville, on a smoky hot August afternoon. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hat about the stories of the \u003cem>actual\u003c/em> \u003cem>people\u003c/em>? Particularly the ones I haven’t had a chance to write about, because other issues in this high-paced news cycle demanded my attention?\u003c/p>\n\u003cp>Last spring I got word that Alameda County’s food program wasn’t getting to a 67-year-old woman named \u003ca href=\"https://twitter.com/OGpenn/status/1258993110320680960?s=20\">Paula\u003c/a>, so she looked up, down and all around, and found a neighbor or two to assist her with groceries. I wanted to write about her in May, but I was occupied by that whole national upheaval about racism and police brutality.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/chris_tha_fifth/\" target=\"_blank\" rel=\"noopener noreferrer\">Chris Tha Fifth\u003c/a>, an author and rapper who was formerly incarcerated at Solano County State Prison in Vacaville, told me that prior to his release, he too spent time looking up—looking up at smoke filling the prison he was in. I wanted to write about him last fall, but got sidetracked by the sideshow of \u003ca href=\"https://www.kqed.org/arts/13888677/as-famous-rappers-get-used-as-pawns-meet-the-black-men-doing-the-real-work\" target=\"_blank\" rel=\"noopener noreferrer\">African-American male entertainers selling out\u003c/a> during election season.\u003c/p>\n\u003cp>He’s one of thousands of people who’ve been released from prison this year. As of March 3, 2021, California’s prison population has \u003ca href=\"https://www.cdcr.ca.gov/research/wp-content/uploads/sites/174/2021/03/Tpop1d210303.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">decreased by 28,454\u003c/a> over the past calendar year. We have the lowest number of prisoners here in California in three decades, and still the prison system is at 102.8% of its capacity.\u003c/p>\n\u003cp>And while the state says it \u003ca href=\"https://www.cdcr.ca.gov/covid19/frequently-asked-questions-expedited-releases/\" target=\"_blank\" rel=\"noopener noreferrer\">tried to quell the spread of COVID-19\u003c/a> in its prisons, \u003ca href=\"https://www.cdcr.ca.gov/covid19/population-status-tracking/\" target=\"_blank\" rel=\"noopener noreferrer\">over 200 people have died\u003c/a>, and many more were sick.\u003c/p>\n\u003cp>Prison officials tell me this decrease in population has led to the consolidation of incarcerated firefighter groups and the closure of at least one institution, \u003ca href=\"https://www.cdcr.ca.gov/news/2020/09/25/cdcr-announces-state-prison-closure/\" target=\"_blank\" rel=\"noopener noreferrer\">Deuel Vocational Institution in Tracy\u003c/a>.\u003c/p>\n\u003cp>Keith Wattley, founder of \u003ca href=\"https://www.uncommonlaw.org/keith-wattley\" target=\"_blank\" rel=\"noopener noreferrer\">UnCommon Law\u003c/a> and an \u003ca href=\"https://www.obama.org/fellowship/2018-fellows/keith-wattley/\" target=\"_blank\" rel=\"noopener noreferrer\">Obama fellow\u003c/a>, tells me there’s still more that can be done to alleviate California’s overcrowded prisons. “One of the most significant data points,” says Wattley via email, “is that people serving indeterminate terms (i.e., those whose release is dependent on the parole board and the Governor) now represent nearly 40% of California’s prison population! That’s because they’ve been systematically and consistently excluded from release consideration, even though they present by far the lowest risk of recidivism.”\u003c/p>\n\u003cp>I had plans on writing that article in January, but instead I spent a solid portion of the first week of 2021 looking up the definition of “domestic terrorism,” and then looking skyward in bewilderment that it wasn’t being applied to \u003ca href=\"https://www.kqed.org/arts/13890913/they-think-this-is-their-country\" target=\"_blank\" rel=\"noopener noreferrer\">the siege on the U.S. Capitol Building.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13893907\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13893907\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/SHelterInPlaceWithoutShelter-800x500.jpg\" alt='Graffiti on an underpass in Oakland: \"Shelter in Place Without a Shelter.\"' width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SHelterInPlaceWithoutShelter-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SHelterInPlaceWithoutShelter-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SHelterInPlaceWithoutShelter-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SHelterInPlaceWithoutShelter-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SHelterInPlaceWithoutShelter-1536x960.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/SHelterInPlaceWithoutShelter.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Graffiti on an underpass in Oakland: “Shelter in Place Without a Shelter.” \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>here were also so many times this year I found myself looking down. Disconnected, distraught, disgusted and lost. Or over-connected, staring at my laptop, trying to write/right the wrongs of the world, or on my phone figuring out what’s going on with this planet.\u003c/p>\n\u003cp>Sometimes looking down while jogging, running away from problems. Other times in a downward stare: inebriated, and sulking in my issues. On a few occasions I was punch drunk—walloped from family drama, unhealthy habits, and the fatigue of simply existing during a global pandemic.\u003c/p>\n\u003cp>In writing that fluffy piece about my interaction with the skies, I was going to end on some trite overused line from Tupac (“keep your head up”) or Earth, Wind, And Fire (“keep your head to the sky”).\u003c/p>\n\u003cp>But there’s another overused popular piece of poetry that’s more applicable.\u003c/p>\n\u003cp>“You will not be able to stay home, brother/You will not be able to plug in, turn on and cop out,” says poet Gil Scott-Heron, in the opening lines of his most famous piece, “The Revolution Will Not Be Televised,” published 50 years ago.\u003c/p>\n\u003cp>I thought about that line a lot these past 365 days.\u003c/p>\n\u003cp>That fluff is unplugging. It’s a mechanism for dealing with things by avoiding them.\u003c/p>\n\u003cp>And I get it. Again, I wanted to wax poetic about clouds and shit. But 50, 100 years from now, future generations will ask what happened during this time, and it’s important we don’t bury the lede: the country that invests the largest amount of money in defense couldn’t defend its most vulnerable people from a virus that impacted countries the world over.\u003c/p>\n\u003cp>And in this country, working class and poor people suffered while \u003ca href=\"https://www.kqed.org/arts/13882749/why-billionaires-got-more-hateable-in-the-age-of-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">the rich got richer\u003c/a>. It was a continuance of the past, and predicator of what’s to come.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nothing fluffy about it.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Woke’ Cartoonist Keith Knight Wrote His Own Path to Hollywood",
"headTitle": "‘Woke’ Cartoonist Keith Knight Wrote His Own Path to Hollywood | KQED",
"content": "\u003cp>Keith Knight’s path to success hasn’t just been a road less traveled, his was a road designed by \u003ca href=\"https://mcescher.com/gallery/impossible-constructions/#iLightbox%5Bgallery_image_1%5D/1\" target=\"_blank\" rel=\"noopener noreferrer\">M. C. Escher\u003c/a>, full of inconceivable twists and turns, trolls under bridges, Sphinx riddles and flaming hoops. I can count the number of American indie cartoonists who have had their work turned into a live action television series on one hand. And I can count the number of Black American indie cartoonists who have had their work turned into a live action television series on one finger.\u003c/p>\n\u003cp>Premiering on Hulu Sept. 9, \u003ca href=\"https://www.hulu.com/series/woke-034909c6-8c46-4cad-8d0d-062574a9e5f1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Woke\u003c/i>\u003c/a> is an eight-episode comedy series loosely based on \u003ca href=\"http://www.kchronicles.com/k-chronicles.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>The K Chronicles\u003c/i>\u003c/a>, Knight’s long-running and politically charged autobiographical comic strip. The show follows Keef Knight, a “don’t make waves” apolitical San Francisco cartoonist who is on the verge of commercial success with his family-friendly comic strip. But when he suffers a traumatic event involving the SFPD, it “opens his third eye,” causing a spiritual and political awakening (as well as a public meltdown), that forces him to take his life in a new direction.\u003c/p>\n\u003cp>If you were part of the underground art scene in San Francisco in the 1990s or 2000s, you may have encountered Knight around town, hanging flyers for his hip hop/garage band \u003ca href=\"http://magnatune.com/artists/marginal_prophets/\" target=\"_blank\" rel=\"noopener noreferrer\">The Marginal Prophets\u003c/a> or in a coffee shop drawing a new installment of his daily strip. He originally intended to move to San Francisco for just five years before heading to L.A. to seek his fortune. But, Knight tells me, once he arrived in the Bay Area, “San Francisco was so cool and so special, I stayed for 17 years.”\u003c/p>\n\u003cp>To be an artist in San Francisco in those years was to be part of a symbiotic organism; opportunities to share his work were plentiful. He could walk into \u003ca href=\"https://www.berkeleyside.com/2010/12/17/berkeleys-comic-relief-sturggles-after-founders-death\" target=\"_blank\" rel=\"noopener noreferrer\">Comic Relief\u003c/a> on Haight Street and sell his zine before wandering down to the Mission to set up a show at the Chameleon. Around every corner lurked promises of a wild warehouse party or an illicit house show.\u003c/p>\n\u003cp>“I felt like it was like my graduate school,” Knight remembers. “This was when I discovered underground cartooning and realized you didn’t have to have that format of a daily cartoon. You could have a longer series of panels like Matt Groening’s \u003ci>Life In Hell\u003c/i> and you could talk about politics and drugs and sex. I loved it.”\u003c/p>\n\u003cfigure id=\"attachment_13885898\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885898\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/keithknight_SFapt-800x1067.jpg\" alt=\"Keith Knight on the set of 'Woke'\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/keithknight_SFapt-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/keithknight_SFapt-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/keithknight_SFapt-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/keithknight_SFapt.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keith Knight on the set of ‘Woke.’ \u003ccite>(Keith Knight)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even though he fell hard for his adopted home, he never lost sight of his original vision of adapting his comics for the big screen. Eventually, he realized he’d stayed too long at the fair. “I was in a rent-controlled apartment, and I was sitting there going, ‘Do I want to be here 20 years from now just because my rent is so cheap?’ I just don’t want to be that guy going, ‘This place used to be so cool before this and that happened.’ So I got out while the getting was good.”\u003c/p>\n\u003cp>In 2007, he pulled up stakes and made his way to L.A. to seek out a development deal. His gregarious nature and habit of working in cafes soon led to meeting a host of producers and other collaborators who believed in his vision. And though his networking skills were key, it didn’t hurt that he also had a massive collection of ideas and stories prepared as a result of drawing a daily strip for decades. \u003c/p>\n\u003cp>He even turned his enormous 500-page comics anthology \u003ci>The Complete K Chronicles\u003c/i> into a theatrical prop that he would lug with him to pitch meetings. “When the meeting was wrapping up,” he recounts, “I would pull that book out, chuck it up the air and have it slam in the middle of the table—this thing was like the size of a phone book—I’d slam it down and then as I was walking out I would say, ‘There’s your first 10 seasons.’” Hulu executive Rob Gati later told him he would always remember that move. It sold the show.\u003c/p>\n\u003cfigure id=\"attachment_13885926\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885926\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/WOKE_sm.jpg\" alt=\"Lamorne Morris\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/WOKE_sm.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/WOKE_sm-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/WOKE_sm-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keef (Lamorne Morris) gets real with his marker. \u003ccite>(Michael Courtney/Hulu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The producers took some risks with \u003ci>Woke\u003c/i>—one of which is using a mix of live action and animation. When I first heard about this aesthetic decision I felt a sinking feeling of dread. With few exceptions, this particular hybrid has a bad track record of being corny, see \u003ci>Out of Jimmy’s Head\u003c/i> (never heard of it? There’s a reason for that) or the recent Chris Meloni alcoholic cop series \u003ci>Happy!\u003c/i> \u003c/p>\n\u003cp>But \u003ci>Woke\u003c/i> escapes this cursed legacy by using animation as a storytelling tool rather than a novelty. When inanimate objects begin speaking to Keef, the special and practical effects are crafted to make them look like they’re an organic extension of this world. The magical realism is used sparingly; it enhances the disorienting experience of his political awakening rather than creating a narrative stumbling block. “We didn’t want it to be a buddy show with Keef and his marker hanging out,” Knight explains. “We wanted the animation to manifest itself when you least expected it. I wanted it to be like \u003ci>The Sixth Sense\u003c/i> when you didn’t know where the next ghost was coming from.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The show attracted major talent, both behind and in front of the camera, including Lamorne Morris (\u003cem>New Girl\u003c/em>), Blake Anderson (\u003cem>Workaholics\u003c/em>), Sasheer Zamata (\u003cem>Saturday Night Live\u003c/em>), director Mo Marable, writer Marshall Todd (\u003cem>Barbershop\u003c/em>), and voice-over cameos from the likes of J. B. Smoove, Nicole Byer, Tony Hale, Cree Summer and Cedric the Entertainer. \u003c/p>\n\u003cp>Hiring a diverse cast and crew, particularly in the writer’s room, contributed to crafting a cohesive vision for \u003cem>Woke\u003c/em>. “I’d heard horror stories of being the only Black writer in the room,” Knight tells me. “It really helped not being in a room full of white people that you have to convince that this [racist] stuff happens.”\u003c/p>\n\u003cfigure id=\"attachment_13885901\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885901\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/keith3-800x600.jpeg\" alt=\"Keith Knight in a koala suit with Blake Anderson\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/keith3-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/keith3-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/keith3-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/keith3-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/keith3.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keith Knight with Blake Anderson on the set of ‘Woke.’ Keith makes a secret cameo as Kubby the Koala. \u003ccite>(Keith Knight)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Knight’s own experience of being racially profiled by the SFPD is the catalyst for the series. Just as it transpires in the pilot episode, Knight was stapling a flyer to a pole near Golden Gate Park when he was accosted by first one and then a dozen police officers for “fitting the description of a suspect” (a.k.a. being Black). Unlike his character, Knight was already politically active when this happened, although he never expected it to happen in “the Bohemian bubble of San Francisco.” \u003c/p>\n\u003cp>It inspired him to double and triple down on the work he was already doing to call out racism and police brutality in America, efforts that ultimately led to his book \u003ca href=\"https://medium.com/the-nib/they-shoot-black-people-dont-they-a5d00c790842\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>They Shoot Black People, Don’t They?\u003c/i>\u003c/a> and the anti-racist slideshow that he tours with today. The slideshow has become his version of therapy. “I don’t like arguing with people over the internet, no one should do that, it sucks, it’s what’s destroying this country,” he says. “But I love engaging people in person.”\u003c/p>\n\u003cp>In tracing Knight’s path to Hollywood, one has to understand that being an indie cartoonist is a) grueling, and b) not lucrative. Making a daily strip for decades with little compensation is not for the faint of heart. It not only requires artistic and storytelling chops, but also constant hustling and some degree of luck. Most cartoonists inevitably throw in the towel and get a day job. So what’s the secret to Knight’s longevity?\u003c/p>\n\u003cp>“Well, at some point, you realize that you’re so far in, you can’t pivot any more. It’s all I know,” he says. “But it’s also because I knew what I was doing. I knew I was creating my own niche. I knew no one else was doing what I was doing and at some point, I’m going to become \u003cem>that\u003c/em> guy that everyone comes to. I always knew that my stuff would be developed for something, but I thought it would be some sleazy indie film out of Reno.”\u003c/p>\n\u003cp>“I had no idea it would be this amazing: a show on Hulu, with the guy from \u003cem>New Girl\u003c/em> and a guy from \u003cem>Workaholics\u003c/em> and all of this amazing voice talent, and billboards in Times Square. I never could have dreamed this.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Woke’ premieres on \u003ca href=\"https://www.hulu.com/series/woke-034909c6-8c46-4cad-8d0d-062574a9e5f1\" target=\"_blank\" rel=\"noopener noreferrer\">Hulu\u003c/a> at 9pm EDT, Tuesday, Sept. 8.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Keith Knight’s path to success hasn’t just been a road less traveled, his was a road designed by \u003ca href=\"https://mcescher.com/gallery/impossible-constructions/#iLightbox%5Bgallery_image_1%5D/1\" target=\"_blank\" rel=\"noopener noreferrer\">M. C. Escher\u003c/a>, full of inconceivable twists and turns, trolls under bridges, Sphinx riddles and flaming hoops. I can count the number of American indie cartoonists who have had their work turned into a live action television series on one hand. And I can count the number of Black American indie cartoonists who have had their work turned into a live action television series on one finger.\u003c/p>\n\u003cp>Premiering on Hulu Sept. 9, \u003ca href=\"https://www.hulu.com/series/woke-034909c6-8c46-4cad-8d0d-062574a9e5f1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Woke\u003c/i>\u003c/a> is an eight-episode comedy series loosely based on \u003ca href=\"http://www.kchronicles.com/k-chronicles.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>The K Chronicles\u003c/i>\u003c/a>, Knight’s long-running and politically charged autobiographical comic strip. The show follows Keef Knight, a “don’t make waves” apolitical San Francisco cartoonist who is on the verge of commercial success with his family-friendly comic strip. But when he suffers a traumatic event involving the SFPD, it “opens his third eye,” causing a spiritual and political awakening (as well as a public meltdown), that forces him to take his life in a new direction.\u003c/p>\n\u003cp>If you were part of the underground art scene in San Francisco in the 1990s or 2000s, you may have encountered Knight around town, hanging flyers for his hip hop/garage band \u003ca href=\"http://magnatune.com/artists/marginal_prophets/\" target=\"_blank\" rel=\"noopener noreferrer\">The Marginal Prophets\u003c/a> or in a coffee shop drawing a new installment of his daily strip. He originally intended to move to San Francisco for just five years before heading to L.A. to seek his fortune. But, Knight tells me, once he arrived in the Bay Area, “San Francisco was so cool and so special, I stayed for 17 years.”\u003c/p>\n\u003cp>To be an artist in San Francisco in those years was to be part of a symbiotic organism; opportunities to share his work were plentiful. He could walk into \u003ca href=\"https://www.berkeleyside.com/2010/12/17/berkeleys-comic-relief-sturggles-after-founders-death\" target=\"_blank\" rel=\"noopener noreferrer\">Comic Relief\u003c/a> on Haight Street and sell his zine before wandering down to the Mission to set up a show at the Chameleon. Around every corner lurked promises of a wild warehouse party or an illicit house show.\u003c/p>\n\u003cp>“I felt like it was like my graduate school,” Knight remembers. “This was when I discovered underground cartooning and realized you didn’t have to have that format of a daily cartoon. You could have a longer series of panels like Matt Groening’s \u003ci>Life In Hell\u003c/i> and you could talk about politics and drugs and sex. I loved it.”\u003c/p>\n\u003cfigure id=\"attachment_13885898\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885898\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/keithknight_SFapt-800x1067.jpg\" alt=\"Keith Knight on the set of 'Woke'\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/keithknight_SFapt-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/keithknight_SFapt-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/keithknight_SFapt-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/keithknight_SFapt.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keith Knight on the set of ‘Woke.’ \u003ccite>(Keith Knight)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even though he fell hard for his adopted home, he never lost sight of his original vision of adapting his comics for the big screen. Eventually, he realized he’d stayed too long at the fair. “I was in a rent-controlled apartment, and I was sitting there going, ‘Do I want to be here 20 years from now just because my rent is so cheap?’ I just don’t want to be that guy going, ‘This place used to be so cool before this and that happened.’ So I got out while the getting was good.”\u003c/p>\n\u003cp>In 2007, he pulled up stakes and made his way to L.A. to seek out a development deal. His gregarious nature and habit of working in cafes soon led to meeting a host of producers and other collaborators who believed in his vision. And though his networking skills were key, it didn’t hurt that he also had a massive collection of ideas and stories prepared as a result of drawing a daily strip for decades. \u003c/p>\n\u003cp>He even turned his enormous 500-page comics anthology \u003ci>The Complete K Chronicles\u003c/i> into a theatrical prop that he would lug with him to pitch meetings. “When the meeting was wrapping up,” he recounts, “I would pull that book out, chuck it up the air and have it slam in the middle of the table—this thing was like the size of a phone book—I’d slam it down and then as I was walking out I would say, ‘There’s your first 10 seasons.’” Hulu executive Rob Gati later told him he would always remember that move. It sold the show.\u003c/p>\n\u003cfigure id=\"attachment_13885926\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885926\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/WOKE_sm.jpg\" alt=\"Lamorne Morris\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/WOKE_sm.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/WOKE_sm-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/WOKE_sm-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keef (Lamorne Morris) gets real with his marker. \u003ccite>(Michael Courtney/Hulu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The producers took some risks with \u003ci>Woke\u003c/i>—one of which is using a mix of live action and animation. When I first heard about this aesthetic decision I felt a sinking feeling of dread. With few exceptions, this particular hybrid has a bad track record of being corny, see \u003ci>Out of Jimmy’s Head\u003c/i> (never heard of it? There’s a reason for that) or the recent Chris Meloni alcoholic cop series \u003ci>Happy!\u003c/i> \u003c/p>\n\u003cp>But \u003ci>Woke\u003c/i> escapes this cursed legacy by using animation as a storytelling tool rather than a novelty. When inanimate objects begin speaking to Keef, the special and practical effects are crafted to make them look like they’re an organic extension of this world. The magical realism is used sparingly; it enhances the disorienting experience of his political awakening rather than creating a narrative stumbling block. “We didn’t want it to be a buddy show with Keef and his marker hanging out,” Knight explains. “We wanted the animation to manifest itself when you least expected it. I wanted it to be like \u003ci>The Sixth Sense\u003c/i> when you didn’t know where the next ghost was coming from.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The show attracted major talent, both behind and in front of the camera, including Lamorne Morris (\u003cem>New Girl\u003c/em>), Blake Anderson (\u003cem>Workaholics\u003c/em>), Sasheer Zamata (\u003cem>Saturday Night Live\u003c/em>), director Mo Marable, writer Marshall Todd (\u003cem>Barbershop\u003c/em>), and voice-over cameos from the likes of J. B. Smoove, Nicole Byer, Tony Hale, Cree Summer and Cedric the Entertainer. \u003c/p>\n\u003cp>Hiring a diverse cast and crew, particularly in the writer’s room, contributed to crafting a cohesive vision for \u003cem>Woke\u003c/em>. “I’d heard horror stories of being the only Black writer in the room,” Knight tells me. “It really helped not being in a room full of white people that you have to convince that this [racist] stuff happens.”\u003c/p>\n\u003cfigure id=\"attachment_13885901\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885901\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/keith3-800x600.jpeg\" alt=\"Keith Knight in a koala suit with Blake Anderson\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/keith3-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/keith3-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/keith3-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/keith3-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/keith3.jpeg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keith Knight with Blake Anderson on the set of ‘Woke.’ Keith makes a secret cameo as Kubby the Koala. \u003ccite>(Keith Knight)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Knight’s own experience of being racially profiled by the SFPD is the catalyst for the series. Just as it transpires in the pilot episode, Knight was stapling a flyer to a pole near Golden Gate Park when he was accosted by first one and then a dozen police officers for “fitting the description of a suspect” (a.k.a. being Black). Unlike his character, Knight was already politically active when this happened, although he never expected it to happen in “the Bohemian bubble of San Francisco.” \u003c/p>\n\u003cp>It inspired him to double and triple down on the work he was already doing to call out racism and police brutality in America, efforts that ultimately led to his book \u003ca href=\"https://medium.com/the-nib/they-shoot-black-people-dont-they-a5d00c790842\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>They Shoot Black People, Don’t They?\u003c/i>\u003c/a> and the anti-racist slideshow that he tours with today. The slideshow has become his version of therapy. “I don’t like arguing with people over the internet, no one should do that, it sucks, it’s what’s destroying this country,” he says. “But I love engaging people in person.”\u003c/p>\n\u003cp>In tracing Knight’s path to Hollywood, one has to understand that being an indie cartoonist is a) grueling, and b) not lucrative. Making a daily strip for decades with little compensation is not for the faint of heart. It not only requires artistic and storytelling chops, but also constant hustling and some degree of luck. Most cartoonists inevitably throw in the towel and get a day job. So what’s the secret to Knight’s longevity?\u003c/p>\n\u003cp>“Well, at some point, you realize that you’re so far in, you can’t pivot any more. It’s all I know,” he says. “But it’s also because I knew what I was doing. I knew I was creating my own niche. I knew no one else was doing what I was doing and at some point, I’m going to become \u003cem>that\u003c/em> guy that everyone comes to. I always knew that my stuff would be developed for something, but I thought it would be some sleazy indie film out of Reno.”\u003c/p>\n\u003cp>“I had no idea it would be this amazing: a show on Hulu, with the guy from \u003cem>New Girl\u003c/em> and a guy from \u003cem>Workaholics\u003c/em> and all of this amazing voice talent, and billboards in Times Square. I never could have dreamed this.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Woke’ premieres on \u003ca href=\"https://www.hulu.com/series/woke-034909c6-8c46-4cad-8d0d-062574a9e5f1\" target=\"_blank\" rel=\"noopener noreferrer\">Hulu\u003c/a> at 9pm EDT, Tuesday, Sept. 8.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>As a national protest movement formed around the police killings of George Floyd and Breonna Taylor in recent weeks, local activists have also rallied around Sean Monterrosa and \u003ca href=\"https://www.kqed.org/news/11823746/police-statement-on-fatal-shooting-of-erik-salgado-claims-he-rammed-chp-vehicles-doesnt-say-if-he-was-armed\" target=\"_blank\" rel=\"noopener noreferrer\">Erik Salgado\u003c/a>, two Latino men in their early 20s killed by Bay Area law enforcement just days apart in June.\u003c/p>\n\u003cp>Vallejo police officer Jarrett Tonn shot Monterrosa, a San Francisco resident, through his car’s windshield while Monterrosa was on his knees with his hands up. Days later, California Attorney General Xavier Beccera pledged to collaborate with VPD and the city of Vallejo to create a series of \u003ca href=\"https://www.kqed.org/news/11823146/state-attorney-general-to-review-and-reform-vallejo-police-department-following-fatal-shooting\" target=\"_blank\" rel=\"noopener noreferrer\">anti-bias and use-of-force reforms\u003c/a>. But Beccera has since \u003ca href=\"https://www.kqed.org/news/11826054/state-attorney-general-wont-investigate-vallejo-polices-fatal-shooting-of-sean-monterrosa\" target=\"_blank\" rel=\"noopener noreferrer\">declined to conduct an independent investigation\u003c/a> of the case. Instead, the investigation is up to Solano County District Attorney Krishna Abrams, who says her own community has lost trust in her ability to bring justice, and who initially requested an independent review from Beccera’s office.\u003c/p>\n\u003cp>Still, the family of Sean Monterrosa has not given up their fight for justice. They are working with attorney John Burris to file a civil suit against the city of Vallejo. And to rally support for their cause, they’re throwing a socially distanced block party, \u003ca href=\"https://www.instagram.com/p/CCUfxG4BC5W/\" target=\"_blank\" rel=\"noopener noreferrer\">Tucan(s) Day\u003c/a>, on July 12 with musical performances by rappers \u003ca href=\"https://www.youtube.com/watch?v=QiJN_UI-hxo\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Bean\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13832451/qing-qi-rapper-and-thizzler-host-calls-out-scrubs-takes-no-prisoners\" target=\"_blank\" rel=\"noopener noreferrer\">Qing Qi\u003c/a> as well as singer \u003ca href=\"https://www.youtube.com/watch?v=OBpyW00wsVE\" target=\"_blank\" rel=\"noopener noreferrer\">La Doña\u003c/a>, a genre-bending artist whose work blends elements of rancheras, reggaeton and hyphy for a distinctly San Franciscan sound.\u003c/p>\n\u003cp>The block party follows a \u003ca href=\"https://www.instagram.com/p/CCXu9hYBvTo/\" target=\"_blank\" rel=\"noopener noreferrer\">march\u003c/a> planned for Vallejo City Hall on July 11. It takes place on July 12 on Park and Leese Streets near Holly Park in San Francisco and features screen printing, button making, food and literature in addition to music. Attendees are required to wear masks and practice social distancing, and must consent to a temperature check at the entrance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a national protest movement formed around the police killings of George Floyd and Breonna Taylor in recent weeks, local activists have also rallied around Sean Monterrosa and \u003ca href=\"https://www.kqed.org/news/11823746/police-statement-on-fatal-shooting-of-erik-salgado-claims-he-rammed-chp-vehicles-doesnt-say-if-he-was-armed\" target=\"_blank\" rel=\"noopener noreferrer\">Erik Salgado\u003c/a>, two Latino men in their early 20s killed by Bay Area law enforcement just days apart in June.\u003c/p>\n\u003cp>Vallejo police officer Jarrett Tonn shot Monterrosa, a San Francisco resident, through his car’s windshield while Monterrosa was on his knees with his hands up. Days later, California Attorney General Xavier Beccera pledged to collaborate with VPD and the city of Vallejo to create a series of \u003ca href=\"https://www.kqed.org/news/11823146/state-attorney-general-to-review-and-reform-vallejo-police-department-following-fatal-shooting\" target=\"_blank\" rel=\"noopener noreferrer\">anti-bias and use-of-force reforms\u003c/a>. But Beccera has since \u003ca href=\"https://www.kqed.org/news/11826054/state-attorney-general-wont-investigate-vallejo-polices-fatal-shooting-of-sean-monterrosa\" target=\"_blank\" rel=\"noopener noreferrer\">declined to conduct an independent investigation\u003c/a> of the case. Instead, the investigation is up to Solano County District Attorney Krishna Abrams, who says her own community has lost trust in her ability to bring justice, and who initially requested an independent review from Beccera’s office.\u003c/p>\n\u003cp>Still, the family of Sean Monterrosa has not given up their fight for justice. They are working with attorney John Burris to file a civil suit against the city of Vallejo. And to rally support for their cause, they’re throwing a socially distanced block party, \u003ca href=\"https://www.instagram.com/p/CCUfxG4BC5W/\" target=\"_blank\" rel=\"noopener noreferrer\">Tucan(s) Day\u003c/a>, on July 12 with musical performances by rappers \u003ca href=\"https://www.youtube.com/watch?v=QiJN_UI-hxo\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Bean\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13832451/qing-qi-rapper-and-thizzler-host-calls-out-scrubs-takes-no-prisoners\" target=\"_blank\" rel=\"noopener noreferrer\">Qing Qi\u003c/a> as well as singer \u003ca href=\"https://www.youtube.com/watch?v=OBpyW00wsVE\" target=\"_blank\" rel=\"noopener noreferrer\">La Doña\u003c/a>, a genre-bending artist whose work blends elements of rancheras, reggaeton and hyphy for a distinctly San Franciscan sound.\u003c/p>\n\u003cp>The block party follows a \u003ca href=\"https://www.instagram.com/p/CCXu9hYBvTo/\" target=\"_blank\" rel=\"noopener noreferrer\">march\u003c/a> planned for Vallejo City Hall on July 11. It takes place on July 12 on Park and Leese Streets near Holly Park in San Francisco and features screen printing, button making, food and literature in addition to music. Attendees are required to wear masks and practice social distancing, and must consent to a temperature check at the entrance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881530\" style=\"font-weight: bold;background-color: transparent;color: #767676\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Porsche-Kelly-KQED-In-Article-800x635.jpg\" alt=\"Porsche Nicole Kelly\" width=\"800\" height=\"635\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Porsche-Kelly-KQED-In-Article-800x635.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Porsche-Kelly-KQED-In-Article-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Porsche-Kelly-KQED-In-Article-768x610.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Porsche-Kelly-KQED-In-Article.jpg 810w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Porsche Nicole Kelly is an Oakland based motivational speaker, poet and author of the book, \u003cem>\u003ca href=\"https://www.amazon.com/Kinds-Fire-Porsche-Nicole-Kelly/dp/0578561875\" target=\"_blank\" rel=\"noopener noreferrer\">2 Kinds of Fire\u003c/a>\u003c/em>. For this week’s episode of Rightnowish, I step back and let the wordsmith speak to us as only she can, through her poetic critique of race in society in the form of her poem, “Jokes.” The poem grapples with cases of police brutality and white nationalist violence. Do what you need to take care of yourself.\u003c/p>\n\u003cp>You can follow Porsche Nicole Kelly at “\u003ca href=\"https://www.instagram.com/thepoeticactivist/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">ThePoeticActivist\u003c/a>” on Instagram.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC8633744823&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>Editor’s Note: Below you’ll find Porsche’s poem “Jokes.” Please note there are slight differences in the recorded performance and the poem written below. \u003c/em>\u003c/p>\n\u003ch2>Jokes\u003c/h2>\n\u003cp>by Porsche Nicole Kelly\u003c/p>\n\u003cp>So a guy walks into a bar\u003cbr>\nA duck walks into a bar\u003cbr>\nA priest, a rabbi, and a minister walk into a bar\u003cbr>\nA white man with a glock walks into a church\u003cbr>\nA white man with a handgun walks into an elementary school\u003cbr>\nA middle school\u003cbr>\nA high school\u003cbr>\nA college\u003cbr>\nA white man with a shotgun, a rifle, and a handgun walks into a theater.\u003cbr>\nA white man with rifles walks into a Las Vegas hotel\u003cbr>\nA white man with Nia Wilson’s name on his knife walks into BART\u003cbr>\nA white man with 2 chainsaws walks into BART\u003cbr>\nA white man with an assault rifle & 3 handguns walks into a Jewish synagogue\u003cbr>\nA black boy with skittles and tea walks down the street & is killed\u003cbr>\nA black man with a cellphone is killed\u003cbr>\nA black man with cigarettes is killed\u003cbr>\nA black man with a license to carry is pulled over and killed\u003cbr>\nA black man with a security badge is mistaken for a suspect and killed\u003cbr>\nA black woman with mental illness is killed\u003cbr>\nA black woman with child is killed\u003cbr>\nA black woman with video games is killed\u003cbr>\nAll of these are jokes but none of them are funny\u003c/p>\n\u003cp>A woman with a hijab looks like a terrorist\u003cbr>\nA man with a turban looks like a terrorist\u003cbr>\nA white man with khakis does not look like a terrorist\u003cbr>\nAn immigrant is a threat to this country\u003cbr>\nKaepernick’s knee is a threat to this country\u003cbr>\nWhite men are never a threat to this country\u003cbr>\nAmerica is on the other side of broken knock knock jokes\u003cbr>\nKnock knock\u003cbr>\nWho’s there\u003cbr>\nJustice\u003cbr>\nJustice who\u003cbr>\nKnock knock\u003cbr>\nWho’s there\u003cbr>\nCompassion\u003cbr>\nCompassion who\u003cbr>\nKnock knock\u003cbr>\nWho’s there\u003cbr>\nTruth\u003cbr>\nTruth who\u003cbr>\nBecause what is justice or compassion or truth to a nation built on the backs of others\u003cbr>\nAmerica is the comedian who’s been in the game for decades and still ain’t funny\u003cbr>\nTells the worst jokes known to mankind then gets mad when you don’t laugh\u003cbr>\nAmerica is the comedian who’s been in the game for decades and still ain’t funny\u003cbr>\nTells the worst jokes known to mankind then gets mad when you don’t laugh\u003cbr>\nAmerica is the attention thirsty class clown who thinks disrupting a history lesson is humorous\u003cbr>\nGets kicked out of class only to come back the next day and do it all over again\u003cbr>\nAmerica sang Donald Glover’s lyrics long before he even wrote them\u003cbr>\nIts version of This Is America smiles like a Purge mask\u003cbr>\nAmerica is the perverted Uncle who still gets to be a part of the family\u003cbr>\nSee everybody knows how disgusting he is but the unaffected don’t say nothing\u003c/p>\n\u003cp>Have you heard the one about the immigrant\u003cbr>\nSpends his blood, sweat, and tears escaping to the American Dream\u003cbr>\nOnly to arrive & be told he can no longer be a dreamer\u003cbr>\nHave you heard the one about the pre-teen\u003cbr>\nHas just enough black to be seen as old enough to have a body become home to bullet wounds\u003cbr>\nHave you heard the one about the face the American flag represents\u003cbr>\nCommits mass murders\u003cbr>\nBut with the exception of suicide usually has just enough Macaulay Culkin to keep him alive at the scene of the crime\u003cbr>\nHave you heard the one about the patriot\u003cbr>\nClaims all lives matters\u003cbr>\nBut only supports the thin blue line and not the lives they’ve taken\u003cbr>\nHave you heard the one about the nation\u003cbr>\nTurns its back on injustice\u003cbr>\nThen gets offended when you don’t sing their favorite song\u003cbr>\nLike a child who hits all the other kids on the playground\u003cbr>\nThen wonders why don’t nobody wanna play with him\u003c/p>\n\u003cp>A racist walks into the oval office\u003cbr>\nBecomes president and encourages his followers to come out of hiding\u003cbr>\nThey agree on things like building walls to keep people out of land that they stole\u003cbr>\nAs they wear red hats that suggest the time during Jim Crow, or the Chinese Exclusion Act\u003cbr>\nOr any other law that deemed non whites as less than human\u003cbr>\nMade this nation great\u003cbr>\nAll of these are jokes\u003cbr>\nBut none of them are funny\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\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13881530\" style=\"font-weight: bold;background-color: transparent;color: #767676\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Porsche-Kelly-KQED-In-Article-800x635.jpg\" alt=\"Porsche Nicole Kelly\" width=\"800\" height=\"635\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Porsche-Kelly-KQED-In-Article-800x635.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Porsche-Kelly-KQED-In-Article-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Porsche-Kelly-KQED-In-Article-768x610.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Porsche-Kelly-KQED-In-Article.jpg 810w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Porsche Nicole Kelly is an Oakland based motivational speaker, poet and author of the book, \u003cem>\u003ca href=\"https://www.amazon.com/Kinds-Fire-Porsche-Nicole-Kelly/dp/0578561875\" target=\"_blank\" rel=\"noopener noreferrer\">2 Kinds of Fire\u003c/a>\u003c/em>. For this week’s episode of Rightnowish, I step back and let the wordsmith speak to us as only she can, through her poetic critique of race in society in the form of her poem, “Jokes.” The poem grapples with cases of police brutality and white nationalist violence. Do what you need to take care of yourself.\u003c/p>\n\u003cp>You can follow Porsche Nicole Kelly at “\u003ca href=\"https://www.instagram.com/thepoeticactivist/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">ThePoeticActivist\u003c/a>” on Instagram.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC8633744823&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>Editor’s Note: Below you’ll find Porsche’s poem “Jokes.” Please note there are slight differences in the recorded performance and the poem written below. \u003c/em>\u003c/p>\n\u003ch2>Jokes\u003c/h2>\n\u003cp>by Porsche Nicole Kelly\u003c/p>\n\u003cp>So a guy walks into a bar\u003cbr>\nA duck walks into a bar\u003cbr>\nA priest, a rabbi, and a minister walk into a bar\u003cbr>\nA white man with a glock walks into a church\u003cbr>\nA white man with a handgun walks into an elementary school\u003cbr>\nA middle school\u003cbr>\nA high school\u003cbr>\nA college\u003cbr>\nA white man with a shotgun, a rifle, and a handgun walks into a theater.\u003cbr>\nA white man with rifles walks into a Las Vegas hotel\u003cbr>\nA white man with Nia Wilson’s name on his knife walks into BART\u003cbr>\nA white man with 2 chainsaws walks into BART\u003cbr>\nA white man with an assault rifle & 3 handguns walks into a Jewish synagogue\u003cbr>\nA black boy with skittles and tea walks down the street & is killed\u003cbr>\nA black man with a cellphone is killed\u003cbr>\nA black man with cigarettes is killed\u003cbr>\nA black man with a license to carry is pulled over and killed\u003cbr>\nA black man with a security badge is mistaken for a suspect and killed\u003cbr>\nA black woman with mental illness is killed\u003cbr>\nA black woman with child is killed\u003cbr>\nA black woman with video games is killed\u003cbr>\nAll of these are jokes but none of them are funny\u003c/p>\n\u003cp>A woman with a hijab looks like a terrorist\u003cbr>\nA man with a turban looks like a terrorist\u003cbr>\nA white man with khakis does not look like a terrorist\u003cbr>\nAn immigrant is a threat to this country\u003cbr>\nKaepernick’s knee is a threat to this country\u003cbr>\nWhite men are never a threat to this country\u003cbr>\nAmerica is on the other side of broken knock knock jokes\u003cbr>\nKnock knock\u003cbr>\nWho’s there\u003cbr>\nJustice\u003cbr>\nJustice who\u003cbr>\nKnock knock\u003cbr>\nWho’s there\u003cbr>\nCompassion\u003cbr>\nCompassion who\u003cbr>\nKnock knock\u003cbr>\nWho’s there\u003cbr>\nTruth\u003cbr>\nTruth who\u003cbr>\nBecause what is justice or compassion or truth to a nation built on the backs of others\u003cbr>\nAmerica is the comedian who’s been in the game for decades and still ain’t funny\u003cbr>\nTells the worst jokes known to mankind then gets mad when you don’t laugh\u003cbr>\nAmerica is the comedian who’s been in the game for decades and still ain’t funny\u003cbr>\nTells the worst jokes known to mankind then gets mad when you don’t laugh\u003cbr>\nAmerica is the attention thirsty class clown who thinks disrupting a history lesson is humorous\u003cbr>\nGets kicked out of class only to come back the next day and do it all over again\u003cbr>\nAmerica sang Donald Glover’s lyrics long before he even wrote them\u003cbr>\nIts version of This Is America smiles like a Purge mask\u003cbr>\nAmerica is the perverted Uncle who still gets to be a part of the family\u003cbr>\nSee everybody knows how disgusting he is but the unaffected don’t say nothing\u003c/p>\n\u003cp>Have you heard the one about the immigrant\u003cbr>\nSpends his blood, sweat, and tears escaping to the American Dream\u003cbr>\nOnly to arrive & be told he can no longer be a dreamer\u003cbr>\nHave you heard the one about the pre-teen\u003cbr>\nHas just enough black to be seen as old enough to have a body become home to bullet wounds\u003cbr>\nHave you heard the one about the face the American flag represents\u003cbr>\nCommits mass murders\u003cbr>\nBut with the exception of suicide usually has just enough Macaulay Culkin to keep him alive at the scene of the crime\u003cbr>\nHave you heard the one about the patriot\u003cbr>\nClaims all lives matters\u003cbr>\nBut only supports the thin blue line and not the lives they’ve taken\u003cbr>\nHave you heard the one about the nation\u003cbr>\nTurns its back on injustice\u003cbr>\nThen gets offended when you don’t sing their favorite song\u003cbr>\nLike a child who hits all the other kids on the playground\u003cbr>\nThen wonders why don’t nobody wanna play with him\u003c/p>\n\u003cp>A racist walks into the oval office\u003cbr>\nBecomes president and encourages his followers to come out of hiding\u003cbr>\nThey agree on things like building walls to keep people out of land that they stole\u003cbr>\nAs they wear red hats that suggest the time during Jim Crow, or the Chinese Exclusion Act\u003cbr>\nOr any other law that deemed non whites as less than human\u003cbr>\nMade this nation great\u003cbr>\nAll of these are jokes\u003cbr>\nBut none of them are funny\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\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Five Days' Chronicles the Baltimore Uprising After Freddie Gray's Death",
"headTitle": "‘Five Days’ Chronicles the Baltimore Uprising After Freddie Gray’s Death | KQED",
"content": "\u003cp>The killing of \u003ca href=\"https://www.npr.org/2020/06/01/867219130/george-floyd-independent-autopsy-homicide-by-asphyxia\" target=\"_blank\" rel=\"noopener noreferrer\">George Floyd\u003c/a> has inspired protests \u003ca href=\"https://www.npr.org/2020/05/31/866279321/la-county-under-state-of-emergency-amid-saturdays-george-floyd-protests\" target=\"_blank\" rel=\"noopener noreferrer\">across the U.S.\u003c/a> and \u003ca href=\"https://www.npr.org/2020/05/31/866428272/george-floyd-reverberates-globally-thousands-protest-in-germany-u-k-canada\" target=\"_blank\" rel=\"noopener noreferrer\">around the world\u003c/a>, with crowds evoking the names of other black men and women who have died in police custody — including \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/05/01/403629104/baltimore-protests-what-we-know-about-the-freddie-gray-arrest\" target=\"_blank\" rel=\"noopener noreferrer\">Freddie Gray\u003c/a>.\u003c/p>\n\u003cp>In 2015, Gray was arrested in Baltimore, and put in a police van—shackled but with no seatbelt. At the end of what was later termed a “rough ride,” Gray was unconscious and his neck was broken. He died a week later.\u003c/p>\n\u003cp>Author \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=126370229\" target=\"_blank\" rel=\"noopener noreferrer\">Wes Moore\u003c/a> chronicles the uprising that occurred in Baltimore following Gray’s death in his new book, \u003cem>Five Days: The Fiery Reckoning of an American City. \u003c/em>He says that in addition to addressing inequitable policing that occurs in poor and black neighborhoods, “we also have to deal with the underlying conditions that our citizens, and oftentimes our citizens of color, are repeatedly being … forced to endure.”\u003c/p>\n\u003cp>The author says that Gray’s life and death illustrate the ways in which people of color are constrained by poverty, racism and systemic injustice.\u003c/p>\n\u003cp>“Freddie Gray was born months premature, born underweight, born addicted to heroin,” Moore says. He notes that Gray was exposed to unsafe levels of lead as a child while living in public housing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Moore says the deaths of Freddie Gray and George Floyd highlight injustices that go beyond police brutality.\u003c/p>\n\u003cp>“The justice that’s also being sought must be an economic justice. It must be health justice. It must be housing justice,” Moore says. “If we permit these tragedies to recede from our memory, we will risk the opportunity to change the systems that are ultimately responsible for all of these injustices.”\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On what lessons today’s protestors can take from what happened to Freddie Gray in Baltimore\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13881375\" class=\"wp-caption alignright\" style=\"max-width: 303px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881375\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Screen-Shot-2020-06-04-at-11.58.39-AM.png\" alt=\"Wes Moore was born in Baltimore. He's now the president of the Robin Hood Foundation, a poverty-fighting organization funding schools, food pantries and shelters in New York City.\" width=\"303\" height=\"195\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-04-at-11.58.39-AM.png 303w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-04-at-11.58.39-AM-160x103.png 160w\" sizes=\"(max-width: 303px) 100vw, 303px\">\u003cfigcaption class=\"wp-caption-text\">Wes Moore was born in Baltimore. He’s now the president of the Robin Hood Foundation, a poverty-fighting organization funding schools, food pantries and shelters in New York City. \u003ccite>(Amun Ankhra /Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I think it’s important for the country to understand the lessons of Baltimore, understand the lessons of what happened to Freddie Gray, understand the aftermath of what happened to Freddie Gray. … Because we’re basically reliving history right now. What we’re seeing and these are lessons that could have and should have been learned prior, because I think it’s very indicative as to both where we are now, but frankly, very indicative so as to where we’re going.\u003c/p>\n\u003cp>I also think that when you’re coming on the heels of what we’re seeing in COVID-19, when you’re coming on the heels of what we’re seeing in terms of this massive and, frankly, this exacerbated level of disparity that the first part of this year has really shown us, you see and you understand how this frustration on so many levels continues to boil over. So while I share the calls for peace, I do think it’s important for people to wonder and to ask: … Where’s our collective pain supposed to go when there still is no justice? That’s the tension that we’re seeing right now on the streets.\u003c/p>\n\u003cp>\u003cstrong>On the physical and psychological damage of the 2015 protests in Baltimore\u003c/strong>\u003c/p>\n\u003cp>You saw places and buildings and historic landmarks up in flames. Churches that were up in flames. You also saw a level of psychological damage … that I think in many ways the city of Baltimore has still yet to heal from. … In just these past five years, there’s just been a level of violence where the [annual] homicide rate has been over 300 in the city of Baltimore. When you look at the size of Baltimore, it’s making it literally the most violent city in America right now. … We have had a level of mistrust that is then taking place amongst elected officials. And so you’ve seen how this has shown itself, not just in the initial damage, but in terms of the quantifiable, measurable financial damage, but really how this has damaged the psyche of Baltimore for really a generation that has now felt the impact of this.\u003c/p>\n\u003cp>\u003cstrong>On the poverty and neglect that has plagued Baltimore for generations\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13881376\" class=\"wp-caption alignright\" style=\"max-width: 303px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881376\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Screen-Shot-2020-06-04-at-12.02.04-PM.png\" alt=\"'Five Days: The Fiery Reckoning of an American City,' by Wes Moore and Erica L. Green.\" width=\"303\" height=\"459\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-04-at-12.02.04-PM.png 303w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-04-at-12.02.04-PM-160x242.png 160w\" sizes=\"(max-width: 303px) 100vw, 303px\">\u003cfigcaption class=\"wp-caption-text\">‘Five Days: The Fiery Reckoning of an American City,’ by Wes Moore and Erica L. Green.\u003c/figcaption>\u003c/figure>\n\u003cp>When … we can’t tell the difference between a building that was burned after the unrest of Freddie Gray or a building that was burned after the unrest after the riots that took place after Dr. King’s murder, versus a building that’s just been vacant because it’s dilapidated and it’s been completely ignored—what does that say about our larger society? And what does that say about our ability to be able to address human pain versus pacify it? And so I think it really does go back and highlights this bigger point, and this bigger conversation, about how we have to think bigger and holistically about what is being demanded and what is being asked, and then what exactly we have to do individually and collectively to be able to address that.\u003c/p>\n\u003cp>\u003cstrong>On the “good apples and bad apples” conversation about police officers\u003c/strong>\u003c/p>\n\u003cp>The thing I think we saw in Baltimore—and I think it’s a complete correlation between what we’re seeing in Minnesota—is it’s impossible to have a conversation about “good apples and bad apples” if we’re not talking about systems. It’s systems that continue to be put in place that allow measures of inequitable policing. It’s systems that are in place that don’t allow for measures of accountability, and where we can put things like civilian review boards in place. … And so this is not just about “good apples” versus “bad apples.” All of us completely acknowledge that there are some absolutely remarkable officers that we have on the force, people who are committing their lives and dedicating their lives and risking their lives for the idea of public safety. We also know that we want good people to be able to perform in good systems—and that’s where the adjustment needs to happen.\u003c/p>\n\u003cp>\u003cstrong>On the decision of whether or not to charge the police officers who were with Officer Chauvin when he killed George Floyd\u003c/strong>\u003c/p>\n\u003cp>The way felony murder works … [is] when a murder happens, that the people who were accomplices in it, regardless of what your role was, even if [you] were not the person that actually took the life of somebody else, you can be held not just accountable, but actually end up receiving a similar type of sentence. We have to really think hard about this idea of toleration that then takes place. For nine minutes that officer [in George Floyd’s case] had his knee on a grown man’s neck while he was screaming for his life, while he was saying that he couldn’t breathe, to the point that some of the last moments that he had on this earth was a 46-year-old man calling for his mother who died two years ago. And at no point did any of the officers go and say to that one officer, “That’s enough,” or “Ease up,” or, “Hey, I got from here. Go take a walk. I got it.”\u003c/p>\n\u003cp>And so there needs to be a level of accountability that people have for each other. There needs to be a level of accountability that individuals have for the people who they are working with, particularly when these types of actions are taking place. Because if there is a level of accountability that people have and they know that I will be held responsible for the actions of the people around me, then my actions are going to be different. And so we’re thinking about the type of reforms that are going to and need to and should take place, we know that when it comes to research specifically on the policing side, these are some of the actions and some of the things that we have to really think hard and really think critically about.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Amy Salit and Thea Chaloner produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=From+Freddie+Gray+To+George+Floyd%3A+Wes+Moore+Says+It%27s+Time+To+%27Change+The+Systems%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The killing of \u003ca href=\"https://www.npr.org/2020/06/01/867219130/george-floyd-independent-autopsy-homicide-by-asphyxia\" target=\"_blank\" rel=\"noopener noreferrer\">George Floyd\u003c/a> has inspired protests \u003ca href=\"https://www.npr.org/2020/05/31/866279321/la-county-under-state-of-emergency-amid-saturdays-george-floyd-protests\" target=\"_blank\" rel=\"noopener noreferrer\">across the U.S.\u003c/a> and \u003ca href=\"https://www.npr.org/2020/05/31/866428272/george-floyd-reverberates-globally-thousands-protest-in-germany-u-k-canada\" target=\"_blank\" rel=\"noopener noreferrer\">around the world\u003c/a>, with crowds evoking the names of other black men and women who have died in police custody — including \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/05/01/403629104/baltimore-protests-what-we-know-about-the-freddie-gray-arrest\" target=\"_blank\" rel=\"noopener noreferrer\">Freddie Gray\u003c/a>.\u003c/p>\n\u003cp>In 2015, Gray was arrested in Baltimore, and put in a police van—shackled but with no seatbelt. At the end of what was later termed a “rough ride,” Gray was unconscious and his neck was broken. He died a week later.\u003c/p>\n\u003cp>Author \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=126370229\" target=\"_blank\" rel=\"noopener noreferrer\">Wes Moore\u003c/a> chronicles the uprising that occurred in Baltimore following Gray’s death in his new book, \u003cem>Five Days: The Fiery Reckoning of an American City. \u003c/em>He says that in addition to addressing inequitable policing that occurs in poor and black neighborhoods, “we also have to deal with the underlying conditions that our citizens, and oftentimes our citizens of color, are repeatedly being … forced to endure.”\u003c/p>\n\u003cp>The author says that Gray’s life and death illustrate the ways in which people of color are constrained by poverty, racism and systemic injustice.\u003c/p>\n\u003cp>“Freddie Gray was born months premature, born underweight, born addicted to heroin,” Moore says. He notes that Gray was exposed to unsafe levels of lead as a child while living in public housing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Moore says the deaths of Freddie Gray and George Floyd highlight injustices that go beyond police brutality.\u003c/p>\n\u003cp>“The justice that’s also being sought must be an economic justice. It must be health justice. It must be housing justice,” Moore says. “If we permit these tragedies to recede from our memory, we will risk the opportunity to change the systems that are ultimately responsible for all of these injustices.”\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On what lessons today’s protestors can take from what happened to Freddie Gray in Baltimore\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13881375\" class=\"wp-caption alignright\" style=\"max-width: 303px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881375\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Screen-Shot-2020-06-04-at-11.58.39-AM.png\" alt=\"Wes Moore was born in Baltimore. He's now the president of the Robin Hood Foundation, a poverty-fighting organization funding schools, food pantries and shelters in New York City.\" width=\"303\" height=\"195\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-04-at-11.58.39-AM.png 303w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-04-at-11.58.39-AM-160x103.png 160w\" sizes=\"(max-width: 303px) 100vw, 303px\">\u003cfigcaption class=\"wp-caption-text\">Wes Moore was born in Baltimore. He’s now the president of the Robin Hood Foundation, a poverty-fighting organization funding schools, food pantries and shelters in New York City. \u003ccite>(Amun Ankhra /Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I think it’s important for the country to understand the lessons of Baltimore, understand the lessons of what happened to Freddie Gray, understand the aftermath of what happened to Freddie Gray. … Because we’re basically reliving history right now. What we’re seeing and these are lessons that could have and should have been learned prior, because I think it’s very indicative as to both where we are now, but frankly, very indicative so as to where we’re going.\u003c/p>\n\u003cp>I also think that when you’re coming on the heels of what we’re seeing in COVID-19, when you’re coming on the heels of what we’re seeing in terms of this massive and, frankly, this exacerbated level of disparity that the first part of this year has really shown us, you see and you understand how this frustration on so many levels continues to boil over. So while I share the calls for peace, I do think it’s important for people to wonder and to ask: … Where’s our collective pain supposed to go when there still is no justice? That’s the tension that we’re seeing right now on the streets.\u003c/p>\n\u003cp>\u003cstrong>On the physical and psychological damage of the 2015 protests in Baltimore\u003c/strong>\u003c/p>\n\u003cp>You saw places and buildings and historic landmarks up in flames. Churches that were up in flames. You also saw a level of psychological damage … that I think in many ways the city of Baltimore has still yet to heal from. … In just these past five years, there’s just been a level of violence where the [annual] homicide rate has been over 300 in the city of Baltimore. When you look at the size of Baltimore, it’s making it literally the most violent city in America right now. … We have had a level of mistrust that is then taking place amongst elected officials. And so you’ve seen how this has shown itself, not just in the initial damage, but in terms of the quantifiable, measurable financial damage, but really how this has damaged the psyche of Baltimore for really a generation that has now felt the impact of this.\u003c/p>\n\u003cp>\u003cstrong>On the poverty and neglect that has plagued Baltimore for generations\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13881376\" class=\"wp-caption alignright\" style=\"max-width: 303px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13881376\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Screen-Shot-2020-06-04-at-12.02.04-PM.png\" alt=\"'Five Days: The Fiery Reckoning of an American City,' by Wes Moore and Erica L. Green.\" width=\"303\" height=\"459\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-04-at-12.02.04-PM.png 303w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Screen-Shot-2020-06-04-at-12.02.04-PM-160x242.png 160w\" sizes=\"(max-width: 303px) 100vw, 303px\">\u003cfigcaption class=\"wp-caption-text\">‘Five Days: The Fiery Reckoning of an American City,’ by Wes Moore and Erica L. Green.\u003c/figcaption>\u003c/figure>\n\u003cp>When … we can’t tell the difference between a building that was burned after the unrest of Freddie Gray or a building that was burned after the unrest after the riots that took place after Dr. King’s murder, versus a building that’s just been vacant because it’s dilapidated and it’s been completely ignored—what does that say about our larger society? And what does that say about our ability to be able to address human pain versus pacify it? And so I think it really does go back and highlights this bigger point, and this bigger conversation, about how we have to think bigger and holistically about what is being demanded and what is being asked, and then what exactly we have to do individually and collectively to be able to address that.\u003c/p>\n\u003cp>\u003cstrong>On the “good apples and bad apples” conversation about police officers\u003c/strong>\u003c/p>\n\u003cp>The thing I think we saw in Baltimore—and I think it’s a complete correlation between what we’re seeing in Minnesota—is it’s impossible to have a conversation about “good apples and bad apples” if we’re not talking about systems. It’s systems that continue to be put in place that allow measures of inequitable policing. It’s systems that are in place that don’t allow for measures of accountability, and where we can put things like civilian review boards in place. … And so this is not just about “good apples” versus “bad apples.” All of us completely acknowledge that there are some absolutely remarkable officers that we have on the force, people who are committing their lives and dedicating their lives and risking their lives for the idea of public safety. We also know that we want good people to be able to perform in good systems—and that’s where the adjustment needs to happen.\u003c/p>\n\u003cp>\u003cstrong>On the decision of whether or not to charge the police officers who were with Officer Chauvin when he killed George Floyd\u003c/strong>\u003c/p>\n\u003cp>The way felony murder works … [is] when a murder happens, that the people who were accomplices in it, regardless of what your role was, even if [you] were not the person that actually took the life of somebody else, you can be held not just accountable, but actually end up receiving a similar type of sentence. We have to really think hard about this idea of toleration that then takes place. For nine minutes that officer [in George Floyd’s case] had his knee on a grown man’s neck while he was screaming for his life, while he was saying that he couldn’t breathe, to the point that some of the last moments that he had on this earth was a 46-year-old man calling for his mother who died two years ago. And at no point did any of the officers go and say to that one officer, “That’s enough,” or “Ease up,” or, “Hey, I got from here. Go take a walk. I got it.”\u003c/p>\n\u003cp>And so there needs to be a level of accountability that people have for each other. There needs to be a level of accountability that individuals have for the people who they are working with, particularly when these types of actions are taking place. Because if there is a level of accountability that people have and they know that I will be held responsible for the actions of the people around me, then my actions are going to be different. And so we’re thinking about the type of reforms that are going to and need to and should take place, we know that when it comes to research specifically on the policing side, these are some of the actions and some of the things that we have to really think hard and really think critically about.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Candice Antique juggles a lot. On top of being a new mother, she’s the CEO of the arts and education non-profit \u003ca href=\"http://edutainmentforequity.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Edutainment for Equity\u003c/a> and the lead vocalist of the group\u003ca href=\"https://antiquenakedsoul.bandcamp.com/\"> Antique Naked Soul. \u003c/a>\u003c/p>\n\u003cp>The quartet also features talented vocalists \u003cspan class=\"bcTruncateMore\">\u003cspan class=\"peekaboo-text\">Jayme Brown and N’gala McCoy, as well as\u003c/span>\u003c/span> well-known b\u003cspan class=\"bcTruncateMore\">\u003cspan class=\"peekaboo-text\">eatboxer and emcee Tommy Soulati Shepherd.\u003c/span>\u003c/span>\u003c/p>\n\u003cp>They all come together and make music only using sounds made with their mouths. I’m talking about beatboxing that imitates actual drums, and puckering up their lips to sound like wind instruments. While there is some assistance from sampling and looping machines, their art is pretty much all vocal wizardry.\u003c/p>\n\u003cp>Antique Naked Soul’s funky melodies are reminiscent of bebop, soul and swing from the late ’40s through the early ’60s, and the group’s attire is from those eras as well.\u003c/p>\n\u003cp>In talking to Candice about the group’s forthcoming album, \u003cem>Diamond & Bullets\u003c/em>, which drops in March, she told me that it covers a lot of topics, but the central focus is injustice and police brutality, especially on the song “Burn\u003cem>.”\u003c/em> The lyrics to that track spoke to me: “Give me an apocalypse / And I would dance / ‘Cause I gave democracy its last chance.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I too have felt like I’m done with this country, especially since my daughter was born.\u003c/p>\n\u003cp>Candice agreed. As an African-American mother, she thinks about what lies ahead for her son often. But the best way to deal with these anxieties, she says, is to first shower your kid with love. And secondly, make art to create change.\u003c/p>\n\u003cp>I agree with that.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A shorter version of this episode was first broadcast on September 6, 2019.\u003c/em>\u003c/p>\n\n",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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},
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"rss": "https://feeds.npr.org/510312/podcast.xml"
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"rss": "https://feeds.npr.org/510308/podcast.xml"
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5Nzk2MzI2MTEx",
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