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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Donté Clark is a poet and thespian from North Richmond, you can tell by the way he talks. His southern drawl on certain words shows his family roots, while his proper pronunciation of other terms is evidence of his upbringing in Northern California.\u003c/p>\n\u003cp>Clark combines both, while speaking passionately about social issues, community empowerment and the things he’s seen. His new book \u003ca href=\"https://www.amazon.com/KnowFreedom-1-Donte-D-Clark/dp/1727349059\">\u003cem>KnowFreedom\u003c/em>\u003c/a>, a collection of his poetry and writing, exemplifies this work.\u003c/p>\n\u003cfigure id=\"attachment_13855455\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855455\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/DonteClark.Inline-800x535.jpg\" alt=\"Donté Clark in Richmond's Nichol Park.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DonteClark.Inline-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DonteClark.Inline-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DonteClark.Inline-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DonteClark.Inline-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DonteClark.Inline-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/DonteClark.Inline.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Donté Clark in Richmond’s Nicholl Park. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Clark’s craft has taken him to stages for \u003ca href=\"https://www.youtube.com/watch?v=Lh8TzfnySFI&t=58s\">Youth Speaks\u003c/a> and a role in the film \u003ca href=\"https://www.youtube.com/watch?v=EE6m_05dQfw\">\u003cem>Romeo is Bleeding\u003c/em>\u003c/a>—which led to an appearance on \u003ca href=\"https://www.youtube.com/watch?v=r6705w7WcJY\">\u003cem>Sway’s Universe\u003c/em>\u003c/a>, where Clark was introduced by none other than Russell Simmons. Recently he landed a role in the \u003ca href=\"https://www.kqed.org/arts/13808042/the-north-pole-i-feel-you\" target=\"_blank\" rel=\"noopener\">web series about gentrification and global warming, \u003cem>The North Pole\u003c/em>\u003c/a>, which just wrapped shooting for its second season.\u003c/p>\n\u003cp>I caught up with Clark at Nicholl Park in Richmond, not too far from where he went to school. He told me how his experiences in Richmond helped him to find his voice—both in the sense of what to talk about, and how to say it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Donté Clark performs as part of ‘Word of Resilience’ on Thursday, April 25 at the Oakland Public Library Main Branch. The 6pm event is free and open to all ages. \u003ca href=\"http://www.oaklandlibrary.org/events/main-library/national-poetry-month-celebration-words-resilience\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>Editor’s Note: Step into the shoes of dancers from across the country who dare to imagine what it would look like if their city could dance with KQED’s \u003c/i>If Cities Could Dance\u003ci>. Watch a new episode from season two of the video series every Tuesday through May 14, 2019.\u003c/i>\u003c/p>\n\u003cp>Many often label the rich history of Richmond’s WWII-era days as the city’s long-ago “renaissance.” The population swelled with tens of thousands of shipyard workers—many of them African American—recruited from throughout the United States. Legendary blues clubs proliferated in North Richmond, and the downtown grew.\u003c/p>\n\u003cp>But for the members of the emerging hip-hop dance troupe R.O.O.T.S. (Rising Out of the System) The Movement, Richmond’s heyday isn’t resigned to the history books.\u003c/p>\n\u003cp>There’s beauty within present-day Richmond, R.O.O.T.S. The Movement dancer Deontae Watkins says—a beauty that inspires his movements. “People who came from the South in the 1940s, they came with so much spunk to make these ships for the war,” says fellow dancer Kabreshiona Tiyteea La’Shae Smith. “That just fuels my fire to continue to go hard for our city.”\u003c/p>\n\u003cp>R.O.O.T.S. The Movement members, all born and raised in Richmond, came up through the RYSE Youth Center and the East Bay Center for the Performing Arts, known as “The Center.” For the dance troupe, who perform a mixture of styles influenced by krumping, hip-hop moves, African dance and modern ballet, their approach to collaborative choreography is crucial to their mission. “We like to see everyone shine and grow at the same time,” says Aziza Thomas.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now many of them are teaching classes at those same spaces. “I have the opportunity to teach how you can use art as a way to transform negative influences or emotions into a positive and beautiful thing,” says Watkins.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watch Watkins, Smith and Thomas dance proudly in front of Point Richmond, along Macdonald Avenue and outside the RYSE Youth Center (where young artists created some of the music heard in this video). —\u003cem>text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Editor’s Note: Step into the shoes of dancers from across the country who dare to imagine what it would look like if their city could dance with KQED’s \u003c/i>If Cities Could Dance\u003ci>. Watch a new episode from season two of the video series every Tuesday through May 14, 2019.\u003c/i>\u003c/p>\n\u003cp>Many often label the rich history of Richmond’s WWII-era days as the city’s long-ago “renaissance.” The population swelled with tens of thousands of shipyard workers—many of them African American—recruited from throughout the United States. Legendary blues clubs proliferated in North Richmond, and the downtown grew.\u003c/p>\n\u003cp>But for the members of the emerging hip-hop dance troupe R.O.O.T.S. (Rising Out of the System) The Movement, Richmond’s heyday isn’t resigned to the history books.\u003c/p>\n\u003cp>There’s beauty within present-day Richmond, R.O.O.T.S. The Movement dancer Deontae Watkins says—a beauty that inspires his movements. “People who came from the South in the 1940s, they came with so much spunk to make these ships for the war,” says fellow dancer Kabreshiona Tiyteea La’Shae Smith. “That just fuels my fire to continue to go hard for our city.”\u003c/p>\n\u003cp>R.O.O.T.S. The Movement members, all born and raised in Richmond, came up through the RYSE Youth Center and the East Bay Center for the Performing Arts, known as “The Center.” For the dance troupe, who perform a mixture of styles influenced by krumping, hip-hop moves, African dance and modern ballet, their approach to collaborative choreography is crucial to their mission. “We like to see everyone shine and grow at the same time,” says Aziza Thomas.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now many of them are teaching classes at those same spaces. “I have the opportunity to teach how you can use art as a way to transform negative influences or emotions into a positive and beautiful thing,” says Watkins.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watch Watkins, Smith and Thomas dance proudly in front of Point Richmond, along Macdonald Avenue and outside the RYSE Youth Center (where young artists created some of the music heard in this video). —\u003cem>text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>After a two-year absence, the \u003ca href=\"http://wineandbowties.com/\" rel=\"noopener\" target=\"_blank\">Wine & Bowties\u003c/a> crew brought back its massive party/show/festival/celebration FEELS at the Craneway Pavilion in Richmond over the weekend. Though the venue may have been more formal than its previous locations (the \u003ca href=\"https://www.kqed.org/arts/11628892/photos-feels-v-oaklands-hottest-underground-warehouse-party\" rel=\"noopener\" target=\"_blank\">past two FEELS\u003c/a> were held at American Steel warehouse in West Oakland), the inclusive atmosphere and staggering creative heft of music and art exploded bigger than ever.\u003c/p>\n\u003cfigure id=\"attachment_13835347\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/MG_5721-800x450.jpg\" alt=\"Mykki Blanco plays FEELS 6 at The Craneway Pavilion in Richmond on Saturday, June 16. (Estefany Gonzalez)\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13835347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mykki Blanco plays FEELS 6 at The Craneway Pavilion in Richmond on Saturday, June 16. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003cp>Highlights near the end of the night included Mykki Blanco’s spastic run through the crowd to climb a warehouse scaffold, Bbymutha’s confident set of slaps on a side stage, and Princess Nokia’s festival-closing, stagedive-peppered set. Artwork from Jeffrey Cheung, Sadie Barnette, Yetunde Olagbaju, and many others filled the hall; Zachary Fox \u003ca href=\"https://www.instagram.com/p/BkIuaxwFox4/\" rel=\"noopener\" target=\"_blank\">recreated his teenage bedroom\u003c/a> next to a couch area. But overall, the cross-collaborative environment is what makes FEELS quintessentially Bay Area; I knew at least two people who flew in from across the country to celebrate its return. Even Kehlani came through.\u003c/p>\n\u003cfigure id=\"attachment_13835343\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/MG_5173-2-800x450.jpg\" alt=\"Kehlani attends FEELS 6 at The Craneway Pavilion in Richmond on Saturday, June 16. Estefany Gonzalez)\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13835343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kehlani attends FEELS 6 at The Craneway Pavilion in Richmond on Saturday, June 16. (Estefany Gonzalez) \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time Kelis hit the stage, the whole warehouse was lit in a steady stream of movement. Princess Nokia’s closing set, stagedives and all, capped the night—one where, more than ever, \u003ca href=\"https://twitter.com/OGpenn/status/1008260676924477440\" rel=\"noopener\" target=\"_blank\">the people were the artwork\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Photos below\u003c/strong>. \u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"13835288,13835285,13835273,13835276,13835259,13835284,13835251,13835281,13835236,13835226,13835228,13835231,13835233,13835238,13835241,13835243,13835244,13835252,13835246,13835287,13835286,13835283,13835279,13835280,13835282,13835277,13835275,13835274,13835272,13835271,13835270,13835269,13835268,13835262,13835265,13835266,13835267,13835261,13835260,13835256,13835255,13835249,13835250,13835253,13835248,13835247,13835239,13835240,13835242,13835237,13835234\" orderby=\"rand\"]\u003c/p>\n\u003cp>\u003cem>All photos by Estefany Gonzalez.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After a two-year absence, the \u003ca href=\"http://wineandbowties.com/\" rel=\"noopener\" target=\"_blank\">Wine & Bowties\u003c/a> crew brought back its massive party/show/festival/celebration FEELS at the Craneway Pavilion in Richmond over the weekend. Though the venue may have been more formal than its previous locations (the \u003ca href=\"https://www.kqed.org/arts/11628892/photos-feels-v-oaklands-hottest-underground-warehouse-party\" rel=\"noopener\" target=\"_blank\">past two FEELS\u003c/a> were held at American Steel warehouse in West Oakland), the inclusive atmosphere and staggering creative heft of music and art exploded bigger than ever.\u003c/p>\n\u003cfigure id=\"attachment_13835347\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/MG_5721-800x450.jpg\" alt=\"Mykki Blanco plays FEELS 6 at The Craneway Pavilion in Richmond on Saturday, June 16. (Estefany Gonzalez)\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13835347\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5721-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mykki Blanco plays FEELS 6 at The Craneway Pavilion in Richmond on Saturday, June 16. (Estefany Gonzalez)\u003c/figcaption>\u003c/figure>\n\u003cp>Highlights near the end of the night included Mykki Blanco’s spastic run through the crowd to climb a warehouse scaffold, Bbymutha’s confident set of slaps on a side stage, and Princess Nokia’s festival-closing, stagedive-peppered set. Artwork from Jeffrey Cheung, Sadie Barnette, Yetunde Olagbaju, and many others filled the hall; Zachary Fox \u003ca href=\"https://www.instagram.com/p/BkIuaxwFox4/\" rel=\"noopener\" target=\"_blank\">recreated his teenage bedroom\u003c/a> next to a couch area. But overall, the cross-collaborative environment is what makes FEELS quintessentially Bay Area; I knew at least two people who flew in from across the country to celebrate its return. Even Kehlani came through.\u003c/p>\n\u003cfigure id=\"attachment_13835343\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/MG_5173-2-800x450.jpg\" alt=\"Kehlani attends FEELS 6 at The Craneway Pavilion in Richmond on Saturday, June 16. Estefany Gonzalez)\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13835343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/MG_5173-2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kehlani attends FEELS 6 at The Craneway Pavilion in Richmond on Saturday, June 16. (Estefany Gonzalez) \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time Kelis hit the stage, the whole warehouse was lit in a steady stream of movement. Princess Nokia’s closing set, stagedives and all, capped the night—one where, more than ever, \u003ca href=\"https://twitter.com/OGpenn/status/1008260676924477440\" rel=\"noopener\" target=\"_blank\">the people were the artwork\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Photos below\u003c/strong>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>All photos by Estefany Gonzalez.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Lost Mural by Secret Communist Unearthed in Richmond Basement",
"headTitle": "Lost Mural by Secret Communist Unearthed in Richmond Basement | KQED",
"content": "\u003cp>The \u003ca href=\"https://richmondmuseum.org/\" target=\"_blank\" rel=\"noopener\">Richmond Museum of History\u003c/a> is a one-room gallery, housed in an old brick library. Just two part-time staff keep the doors open. One of them is Melinda McCrary, the museum’s director.\u003c/p>\n\u003cp>“I do everything,” says McCrary, shutting off the hose in the front garden. “I take out the trash. I’m the main fundraiser. I do all the programming.”\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/RDnews/2017/10/WirtschafterMuralDiscovery.mp3\" /]\u003c/p>\n\u003cp>When McCrary came on board in 2014, she got to chatting with a long-time Richmond resident who asked, “‘Have you heard of this post office mural that has been lost?'”\u003c/p>\n\u003cp>He told her that the artist Victor Arnautoff — a protégé of Diego Rivera, and the lead artist for the murals inside the lobby of Coit Tower — had painted a beautiful mural on a canvas the size of the side of a U-Haul trailer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For 35 years, it was displayed over the postmaster’s window at Richmond’s main post office.\u003c/p>\n\u003cp>But the mural was taken down during a renovation in 1976. “It was just forgotten,” says McCrary. “It just got lost in the shuffle.”\u003c/p>\n\u003cp>She decided she had to find it.\u003c/p>\n\u003cfigure id=\"attachment_13810140\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810140\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-800x507.jpg\" alt=\"\" width=\"800\" height=\"507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-800x507.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-1020x646.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-1180x747.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-960x608.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-240x152.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-375x238.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-520x329.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Melinda McCrary, director of the Richmond Museum of History, points to where the mural once adorned Richmond’s main post office. \u003ccite>(Eli Wirtschafter/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A snapshot of Richmond before the war\u003c/h2>\n\u003cp>Arnautoff painted his mural in 1941, just months before the U.S. entered World War II, and Richmond transformed into an epicenter for wartime ship building.\u003c/p>\n\u003cp>Historian Robert Cherny, an emeritus professor at San Francisco State University (SFSU), says Arnautoff followed a process he used for other post office murals in the New Deal era: He started by talking to locals.\u003c/p>\n\u003cp>“Arnautoff talked to the local postmaster, the local newspaper editor,” Cherny says. “He walked around the streets.”\u003c/p>\n\u003cfigure id=\"attachment_13810153\" class=\"wp-caption alignleft\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13810153\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Newspaper-image-160x227.jpg\" alt=\"\" width=\"250\" height=\"355\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-800x1134.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-768x1089.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-1020x1446.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-1180x1673.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-960x1361.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-240x340.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-375x532.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-520x737.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image.jpg 1311w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">A local newspaper clipping from when the mural was first installed in 1941. \u003ccite>(Courtesy Richmond Museum of History/Melinda McCrary)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Richmond captured on canvas is a quiet town on its way to becoming an industrial city. There’s a woman in a yellow dress, buying fruit. There’s a boy with his bicycle. In the background, a freight train passes by oil tanks and a refinery spouting black smoke.\u003c/p>\n\u003cp>Arnautoff, who at that time was a secret member of the Communist party, dropped subtle political messages into his mural. He depicts four dock workers on their (union-guaranteed) lunch break, discussing the news of the day.\u003c/p>\n\u003cp>Catherine Powell, director of the Labor Archives and Research Center at SFSU noticed that two of the workers have round pins on their hats, indicating membership of the longshoremen’s union.\u003c/p>\n\u003cp>And one of the four is black — a significant gesture at a time when African-Americans made up just 1% of the city’s population.\u003c/p>\n\u003cp>Cherny says the local longshoremen’s union was one of the first to promote an a racially integrated workforce. The union “stood for the equality of all of its workers,” Cherny says.\u003c/p>\n\u003cfigure id=\"attachment_13810143\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810143\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-800x453.jpg\" alt=\"\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Historians Catherine Powell and Robert Cherny with a life-size reproduction of the mural at San Francisco State University \u003ccite>(Eli Wirtschafter/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Into the basement\u003c/h2>\n\u003cp>When McCrary asked postal employees about the mural, they hadn’t heard of it, and they wouldn’t let her conduct a search for the long lost work around their building.\u003c/p>\n\u003cp>So she asked a member of her board to help — a former city council member who happened to know Richmond’s former postmaster. The former postmaster knew a janitor who worked at the post office. And the janitor agreed to look for the mural.\u003c/p>\n\u003cp>One day, after the post office closed, the janitor let McCrary into the basement.\u003c/p>\n\u003cp>“It was totally sneaky,” McCrary says. “I was not supposed to be down there.”\u003c/p>\n\u003cp>Deep underground, he opened a pair of double doors to a small dusty room. There was only one thing in the room: a large, wooden crate with a handwritten label that said “Victor Arnotoff” [sic].\u003c/p>\n\u003cfigure id=\"attachment_13810152\" class=\"wp-caption alignleft\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13810152\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Victor-Arnatauff-Label-at-Post-Office-e1506963441321.jpg\" alt=\"\" width=\"250\" height=\"352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Victor-Arnatauff-Label-at-Post-Office-e1506963441321.jpg 611w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Victor-Arnatauff-Label-at-Post-Office-e1506963441321-160x225.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Victor-Arnatauff-Label-at-Post-Office-e1506963441321-240x338.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Victor-Arnatauff-Label-at-Post-Office-e1506963441321-375x528.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Victor-Arnatauff-Label-at-Post-Office-e1506963441321-520x732.jpg 520w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">The label on the crate from when the mural was removed in 1976. \u003ccite>(Courtesy Richmond Museum of History/Melinda McCrary)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McCrary couldn’t verify that the mural was in the box, let alone run off with it. She had to spend a year persuading the postal service to approve a loan to her museum.\u003c/p>\n\u003cp>Then, just weeks after the deal was signed, McCrary found out that the basement of the post office was flooded.\u003c/p>\n\u003cp>She panicked, and rushed to the post office basement with a couple of art handlers. There, they saw a waterline six inches from the bottom of the crate.\u003c/p>\n\u003cp>“We were all convinced that the mural was ruined,” McCrary says.\u003c/p>\n\u003cp>They whisked the crate out of the post office, pried it open with a crowbar, and discovered that the mural had been stored on a set of stilts.\u003c/p>\n\u003cp>“It was an absolutely exhilarating feeling to know that it didn’t get wet,” McCrary says.\u003c/p>\n\u003cp>A life-size reproduction of the mural is now \u003ca href=\"https://library.sfsu.edu/exhibit/victor-arnautoff-and-politics-art\">on exhibit at SFSU\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13810148\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810148\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-800x453.jpg\" alt=\"\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Melinda McCrary with the mural, now in storage at the Richmond Museum of History \u003ccite>(Eli Wirtschafter/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McCrary is trying to raise funds to restore the original painting, which is wrinkled and has bits of lead-based adhesive stuck to it. Nathan Zakheim, the same art preservationist who took down the mural in 1976, may be the one to restore it.\u003c/p>\n\u003cp>McCrary hopes to display the restored original at the Richmond Museum of History, located just a few blocks away from the post office. “I want to put the Richmond museum on the map,” McCrary says.\u003c/p>\n\u003cp>For now, the mural is wrapped up in plastic at the museum — in a basement.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://library.sfsu.edu/exhibit/victor-arnautoff-and-politics-art\" target=\"_blank\" rel=\"noopener\">\u003cem>Victor Arnautoff and the Politics of Art\u003c/em>\u003c/a> runs through Tuesday, Dec. 12 at the Labor Archives and Research Center at San Francisco State University.\u003c/p>\n\n",
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"excerpt": "The large-scale work by Diego Rivera protégé and lead Coit Tower muralist Victor Arnautoff shows his Communist leanings. No one knew its whereabouts for nearly 40 years.",
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"description": "The large-scale work by Diego Rivera protégé and lead Coit Tower muralist Victor Arnautoff shows his Communist leanings. No one knew its whereabouts for nearly 40 years.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://richmondmuseum.org/\" target=\"_blank\" rel=\"noopener\">Richmond Museum of History\u003c/a> is a one-room gallery, housed in an old brick library. Just two part-time staff keep the doors open. One of them is Melinda McCrary, the museum’s director.\u003c/p>\n\u003cp>“I do everything,” says McCrary, shutting off the hose in the front garden. “I take out the trash. I’m the main fundraiser. I do all the programming.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When McCrary came on board in 2014, she got to chatting with a long-time Richmond resident who asked, “‘Have you heard of this post office mural that has been lost?'”\u003c/p>\n\u003cp>He told her that the artist Victor Arnautoff — a protégé of Diego Rivera, and the lead artist for the murals inside the lobby of Coit Tower — had painted a beautiful mural on a canvas the size of the side of a U-Haul trailer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For 35 years, it was displayed over the postmaster’s window at Richmond’s main post office.\u003c/p>\n\u003cp>But the mural was taken down during a renovation in 1976. “It was just forgotten,” says McCrary. “It just got lost in the shuffle.”\u003c/p>\n\u003cp>She decided she had to find it.\u003c/p>\n\u003cfigure id=\"attachment_13810140\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810140\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-800x507.jpg\" alt=\"\" width=\"800\" height=\"507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-800x507.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-1020x646.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-1180x747.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-960x608.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-240x152.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-375x238.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27088_McCrary-at-the-post-office-qut-520x329.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Melinda McCrary, director of the Richmond Museum of History, points to where the mural once adorned Richmond’s main post office. \u003ccite>(Eli Wirtschafter/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A snapshot of Richmond before the war\u003c/h2>\n\u003cp>Arnautoff painted his mural in 1941, just months before the U.S. entered World War II, and Richmond transformed into an epicenter for wartime ship building.\u003c/p>\n\u003cp>Historian Robert Cherny, an emeritus professor at San Francisco State University (SFSU), says Arnautoff followed a process he used for other post office murals in the New Deal era: He started by talking to locals.\u003c/p>\n\u003cp>“Arnautoff talked to the local postmaster, the local newspaper editor,” Cherny says. “He walked around the streets.”\u003c/p>\n\u003cfigure id=\"attachment_13810153\" class=\"wp-caption alignleft\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13810153\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Newspaper-image-160x227.jpg\" alt=\"\" width=\"250\" height=\"355\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-800x1134.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-768x1089.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-1020x1446.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-1180x1673.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-960x1361.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-240x340.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-375x532.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image-520x737.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Newspaper-image.jpg 1311w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">A local newspaper clipping from when the mural was first installed in 1941. \u003ccite>(Courtesy Richmond Museum of History/Melinda McCrary)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Richmond captured on canvas is a quiet town on its way to becoming an industrial city. There’s a woman in a yellow dress, buying fruit. There’s a boy with his bicycle. In the background, a freight train passes by oil tanks and a refinery spouting black smoke.\u003c/p>\n\u003cp>Arnautoff, who at that time was a secret member of the Communist party, dropped subtle political messages into his mural. He depicts four dock workers on their (union-guaranteed) lunch break, discussing the news of the day.\u003c/p>\n\u003cp>Catherine Powell, director of the Labor Archives and Research Center at SFSU noticed that two of the workers have round pins on their hats, indicating membership of the longshoremen’s union.\u003c/p>\n\u003cp>And one of the four is black — a significant gesture at a time when African-Americans made up just 1% of the city’s population.\u003c/p>\n\u003cp>Cherny says the local longshoremen’s union was one of the first to promote an a racially integrated workforce. The union “stood for the equality of all of its workers,” Cherny says.\u003c/p>\n\u003cfigure id=\"attachment_13810143\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810143\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-800x453.jpg\" alt=\"\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27086_Powell-and-Cherny-with-the-mural-qut-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Historians Catherine Powell and Robert Cherny with a life-size reproduction of the mural at San Francisco State University \u003ccite>(Eli Wirtschafter/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Into the basement\u003c/h2>\n\u003cp>When McCrary asked postal employees about the mural, they hadn’t heard of it, and they wouldn’t let her conduct a search for the long lost work around their building.\u003c/p>\n\u003cp>So she asked a member of her board to help — a former city council member who happened to know Richmond’s former postmaster. The former postmaster knew a janitor who worked at the post office. And the janitor agreed to look for the mural.\u003c/p>\n\u003cp>One day, after the post office closed, the janitor let McCrary into the basement.\u003c/p>\n\u003cp>“It was totally sneaky,” McCrary says. “I was not supposed to be down there.”\u003c/p>\n\u003cp>Deep underground, he opened a pair of double doors to a small dusty room. There was only one thing in the room: a large, wooden crate with a handwritten label that said “Victor Arnotoff” [sic].\u003c/p>\n\u003cfigure id=\"attachment_13810152\" class=\"wp-caption alignleft\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13810152\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Victor-Arnatauff-Label-at-Post-Office-e1506963441321.jpg\" alt=\"\" width=\"250\" height=\"352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Victor-Arnatauff-Label-at-Post-Office-e1506963441321.jpg 611w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Victor-Arnatauff-Label-at-Post-Office-e1506963441321-160x225.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Victor-Arnatauff-Label-at-Post-Office-e1506963441321-240x338.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Victor-Arnatauff-Label-at-Post-Office-e1506963441321-375x528.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Victor-Arnatauff-Label-at-Post-Office-e1506963441321-520x732.jpg 520w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">The label on the crate from when the mural was removed in 1976. \u003ccite>(Courtesy Richmond Museum of History/Melinda McCrary)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McCrary couldn’t verify that the mural was in the box, let alone run off with it. She had to spend a year persuading the postal service to approve a loan to her museum.\u003c/p>\n\u003cp>Then, just weeks after the deal was signed, McCrary found out that the basement of the post office was flooded.\u003c/p>\n\u003cp>She panicked, and rushed to the post office basement with a couple of art handlers. There, they saw a waterline six inches from the bottom of the crate.\u003c/p>\n\u003cp>“We were all convinced that the mural was ruined,” McCrary says.\u003c/p>\n\u003cp>They whisked the crate out of the post office, pried it open with a crowbar, and discovered that the mural had been stored on a set of stilts.\u003c/p>\n\u003cp>“It was an absolutely exhilarating feeling to know that it didn’t get wet,” McCrary says.\u003c/p>\n\u003cp>A life-size reproduction of the mural is now \u003ca href=\"https://library.sfsu.edu/exhibit/victor-arnautoff-and-politics-art\">on exhibit at SFSU\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13810148\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810148\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-800x453.jpg\" alt=\"\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27080_Melidna-McCrary-with-mural-roll-qut-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Melinda McCrary with the mural, now in storage at the Richmond Museum of History \u003ccite>(Eli Wirtschafter/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McCrary is trying to raise funds to restore the original painting, which is wrinkled and has bits of lead-based adhesive stuck to it. Nathan Zakheim, the same art preservationist who took down the mural in 1976, may be the one to restore it.\u003c/p>\n\u003cp>McCrary hopes to display the restored original at the Richmond Museum of History, located just a few blocks away from the post office. “I want to put the Richmond museum on the map,” McCrary says.\u003c/p>\n\u003cp>For now, the mural is wrapped up in plastic at the museum — in a basement.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://library.sfsu.edu/exhibit/victor-arnautoff-and-politics-art\" target=\"_blank\" rel=\"noopener\">\u003cem>Victor Arnautoff and the Politics of Art\u003c/em>\u003c/a> runs through Tuesday, Dec. 12 at the Labor Archives and Research Center at San Francisco State University.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Five Best Lyrics from Rayana Jay's 'Morning After' EP",
"headTitle": "The Five Best Lyrics from Rayana Jay’s ‘Morning After’ EP | KQED",
"content": "\u003cp>Rising R&B star \u003ca href=\"https://ww2.kqed.org/arts/2017/03/20/rayana-jay-wants-to-talk-about-your-messy-breakup/\" target=\"_blank\" rel=\"noopener\">Rayana Jay\u003c/a> has an uncanny ability to cut to the core of emotional intricacies, making poetry out of the feelings one usually stays up late dissecting. Last year, her EP \u003cem>Sorry About Last Night\u003c/em> garnered widespread acclaim for its insightful dive into the aftermath of a breakup — not to mention Jay’s gorgeous vocals and effortless cool on its lead single, “\u003ca href=\"https://soundcloud.com/rayanajay/rayana-jay-sleepy-brown-prod-by-mikos-da-gawd-1\" target=\"_blank\" rel=\"noopener\">Sleepy Brown\u003c/a>.” \u003c/p>\n\u003cp>Now, the Vallejo-by-way-of-Richmond singer (and \u003ca href=\"https://ww2.kqed.org/arts/2017/07/23/women-to-watch-rayana-jay/\" target=\"_blank\" rel=\"noopener\">one of KQED’s Women to Watch\u003c/a>) is back with \u003cem>Morning After\u003c/em>, a funky, soulful eight-track EP that explores different sides of the singer: sweet, sassy, player, hopeless romantic. Jay wears these contradictions on her sleeve, chronicling the often confusing journey of a twenty-something woman looking for love. Check out our favorite lyrics from the project below and catch Rayana Jay at The New Parish for her \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=7597075&pl=newparish&REFID=clientsitewp\" target=\"_blank\" rel=\"noopener\">headlining show\u003c/a> on Sept. 28.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/playlists/352925687″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”300″ iframe=”true” /]\u003c/p>\n\u003ch3>1. “You got that touch/It’s too much/It’s not enough” (“Magic”)\u003c/h3>\n\u003cp>“Magic,” \u003cem>Morning After’s\u003c/em> upbeat, disco-inflected lead single, conveys the high one experiences when a burning crush is finally reciprocated. You’re so elated you want to dance alone in your room, and this song is the perfect soundtrack. Just before the infectious call-and-response hook, Jay taps into a feeling of simultaneous overwhelm and intense desire: “It’s too much/It’s not enough.” \u003c/p>\n\u003ch3>2. “I know you got some records/I got some N.E.R.D./I love when you sing to me/Even when you sing off-key” (“Chill”)\u003c/h3>\n\u003cp>One of Jay’s most endearing qualities is that she doesn’t claim to be a flawless vixen — even when singing about relationships and sex, she lays her doubts, insecurities, and quirks bare. With this line, she demonstrates how she appreciates the same level of realness in others. Plus, who doesn’t love a girl who has N.E.R.D. on vinyl?\u003c/p>\n\u003ch3>3. “You’re black like grandma’s hands/Wrapped up in grandma’s prayers” (“Sunkissed”)\u003c/h3>\n\u003cp>“Sunkissed,” an homage to black love and black beauty, is rife with rich cultural references. The allusion to a grandmother’s prayers beautifully honors the ways that family can keep one going despite the hardships of the world. \u003c/p>\n\u003ch3>4. “You tell me you love me/I just adore you/I grab your cell and I tell you to call/I just ignore you” (“Everything”)\u003c/h3>\n\u003cp>On “Everything,” Jay grapples with the messiness that can ensue when attempting to date while emotionally unavailable. You might have a connection with someone, but something is stopping you from actually committing. “Everything” taps into those contradictory impulses and the havoc they can wreak on one’s love life. \u003c/p>\n\u003ch3>5. “Baby can’t you see/There’s plenty of you/Not that many of me” (“Cupcake”)\u003c/h3>\n\u003cp>First of all, “Cupcake” is amazing because it borrows from Trunk Boiz’ underground Oakland classic, “\u003ca href=\"https://www.youtube.com/watch?v=KCNlDgSQuLg\" target=\"_blank\" rel=\"noopener\">Cupcake No Fillin\u003c/a>.” Jay references the West Coast player anthem to address a temporary lover who’s in too deep when, for her, it’s not that serious — though, unlike her male counterparts, she’s earnest and apologetic. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium 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\n",
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"excerpt": "The most quotable, relatable lines from the Richmond singer's highly-anticipated third release. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rising R&B star \u003ca href=\"https://ww2.kqed.org/arts/2017/03/20/rayana-jay-wants-to-talk-about-your-messy-breakup/\" target=\"_blank\" rel=\"noopener\">Rayana Jay\u003c/a> has an uncanny ability to cut to the core of emotional intricacies, making poetry out of the feelings one usually stays up late dissecting. Last year, her EP \u003cem>Sorry About Last Night\u003c/em> garnered widespread acclaim for its insightful dive into the aftermath of a breakup — not to mention Jay’s gorgeous vocals and effortless cool on its lead single, “\u003ca href=\"https://soundcloud.com/rayanajay/rayana-jay-sleepy-brown-prod-by-mikos-da-gawd-1\" target=\"_blank\" rel=\"noopener\">Sleepy Brown\u003c/a>.” \u003c/p>\n\u003cp>Now, the Vallejo-by-way-of-Richmond singer (and \u003ca href=\"https://ww2.kqed.org/arts/2017/07/23/women-to-watch-rayana-jay/\" target=\"_blank\" rel=\"noopener\">one of KQED’s Women to Watch\u003c/a>) is back with \u003cem>Morning After\u003c/em>, a funky, soulful eight-track EP that explores different sides of the singer: sweet, sassy, player, hopeless romantic. Jay wears these contradictions on her sleeve, chronicling the often confusing journey of a twenty-something woman looking for love. Check out our favorite lyrics from the project below and catch Rayana Jay at The New Parish for her \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=7597075&pl=newparish&REFID=clientsitewp\" target=\"_blank\" rel=\"noopener\">headlining show\u003c/a> on Sept. 28.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”300″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/playlists/352925687″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/playlists/352925687″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003ch3>1. “You got that touch/It’s too much/It’s not enough” (“Magic”)\u003c/h3>\n\u003cp>“Magic,” \u003cem>Morning After’s\u003c/em> upbeat, disco-inflected lead single, conveys the high one experiences when a burning crush is finally reciprocated. You’re so elated you want to dance alone in your room, and this song is the perfect soundtrack. Just before the infectious call-and-response hook, Jay taps into a feeling of simultaneous overwhelm and intense desire: “It’s too much/It’s not enough.” \u003c/p>\n\u003ch3>2. “I know you got some records/I got some N.E.R.D./I love when you sing to me/Even when you sing off-key” (“Chill”)\u003c/h3>\n\u003cp>One of Jay’s most endearing qualities is that she doesn’t claim to be a flawless vixen — even when singing about relationships and sex, she lays her doubts, insecurities, and quirks bare. With this line, she demonstrates how she appreciates the same level of realness in others. Plus, who doesn’t love a girl who has N.E.R.D. on vinyl?\u003c/p>\n\u003ch3>3. “You’re black like grandma’s hands/Wrapped up in grandma’s prayers” (“Sunkissed”)\u003c/h3>\n\u003cp>“Sunkissed,” an homage to black love and black beauty, is rife with rich cultural references. The allusion to a grandmother’s prayers beautifully honors the ways that family can keep one going despite the hardships of the world. \u003c/p>\n\u003ch3>4. “You tell me you love me/I just adore you/I grab your cell and I tell you to call/I just ignore you” (“Everything”)\u003c/h3>\n\u003cp>On “Everything,” Jay grapples with the messiness that can ensue when attempting to date while emotionally unavailable. You might have a connection with someone, but something is stopping you from actually committing. “Everything” taps into those contradictory impulses and the havoc they can wreak on one’s love life. \u003c/p>\n\u003ch3>5. “Baby can’t you see/There’s plenty of you/Not that many of me” (“Cupcake”)\u003c/h3>\n\u003cp>First of all, “Cupcake” is amazing because it borrows from Trunk Boiz’ underground Oakland classic, “\u003ca href=\"https://www.youtube.com/watch?v=KCNlDgSQuLg\" target=\"_blank\" rel=\"noopener\">Cupcake No Fillin\u003c/a>.” Jay references the West Coast player anthem to address a temporary lover who’s in too deep when, for her, it’s not that serious — though, unlike her male counterparts, she’s earnest and apologetic. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"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. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"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.",
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"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",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
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},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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