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"content": "\u003cp>\u003cspan style=\"font-weight: 400\"> More than one thousand people are expected to show up in downtown San Jose Saturday to celebrate the fifth \u003ca href=\"http://aodaifestival.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ao Dai Festival\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The \u003ca href=\"http://aodaifestival.com/history/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>ao dai\u003c/em> \u003c/a>(say “ow-zai”) is a traditional Vietnamese outfit — a long tunic worn over pants, worn by women and men. Starting in the 18th century in the south of Vietnam, the \u003cem>ao dai\u003c/em> has grown from a regional nod to tradition to something much bigger: a national symbol of Vietnamese beauty.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In recent years in San Jose, the \u003cem>ao dai\u003c/em> has become something else yet again: a cultural point of pride most Vietnamese-Americans can get behind. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It is neutral. It is something that everyone agrees is beautiful,” says \u003c/span>\u003cspan style=\"font-weight: 400\">Trami Nguyen Cron, on the Ao Dai Festival’s steering committee. The author and founder of \u003ca href=\"http://www.chopsticksalley.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Chopsticks Alley\u003c/a>, a nonprofit featuring Southeast Asian Artists in the Bay Area, adds, “Let’s come together to celebrate being one, being Vietnamese!”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13832007\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832007\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-800x534.jpg\" alt=\"Models on the catwalk display fresh designs from Tuan Tran at the 2016 Ao Dai Festival in San Jose.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Models on the catwalk display fresh designs from Tuan Tran at the 2016 Ao Dai Festival in San Jose. \u003ccite>(Photo: Courtesy of Christine Jade)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">For so many who fled Vietnam as adults, modern art and music from the home country is an unpleasant reminder of the Communist regime. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Younger generations may quietly enjoy the cultural dynamism coming from Vietnam today. Publicly? Not so much. \u003c/span>\u003cspan style=\"font-weight: 400\">But as the years pass, young Vietnamese-Americans are eager to take the reins and lead local cultural celebrations. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Or launch them. The San Jose festival was developed by a local attorney, Jenny Do, a refugee who came to the US in 1975. Cron explains, “They want to be connected to their culture, and this is an easy way for them to do it.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This year’s theme in San Jose is a “Confluence of Rivers,” and festival will fill a whole day with fashion, music and dance\u003c/span>, starting with a weaving project at 11 a.m. in the Circle of Palms outside the San Jose Museum of Art. At 4 p.m., there’s a fashion walk – slash – march from City Hall to the Circle of Palms. At 5 p.m., there’s traditional music and dance, and finally at 5:30 p.m., a cocktail reception and dinner inside the Fairmont Hotel.\u003c/p>\n\u003cfigure id=\"attachment_13832022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832022\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-800x534.jpg\" alt=\"The Ao Dai Festival also features modern renditions of traditional music.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Ao Dai Festival also features modern renditions of traditional music. \u003ccite>(Photo: Courtesy of Christine Jade)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>From demure to sexy\u003c/strong>\u003c/p>\n\u003cp>Fashion designers have been playing with the \u003cem>ao dai\u003c/em> since the 1930s, when French-trained artists started taking the costume in a more provocative direction. What was loose became more tight-fitting. Slits up the side sometimes go high enough to show a little skin.\u003c/p>\n\u003cp>A new generation of fashion designers in the Bay Area and beyond continues to play with the classic form. Cron says, “We have local designers from San Jose, from San Francisco, and also famous designers from Vietnam.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As the organizers hoped, every generation wants in on the celebration, wants to strut their stuff and celebrate. Pride, fashion, gorgeousness: what’s not to like?\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\"> More than one thousand people are expected to show up in downtown San Jose Saturday to celebrate the fifth \u003ca href=\"http://aodaifestival.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ao Dai Festival\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The \u003ca href=\"http://aodaifestival.com/history/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>ao dai\u003c/em> \u003c/a>(say “ow-zai”) is a traditional Vietnamese outfit — a long tunic worn over pants, worn by women and men. Starting in the 18th century in the south of Vietnam, the \u003cem>ao dai\u003c/em> has grown from a regional nod to tradition to something much bigger: a national symbol of Vietnamese beauty.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In recent years in San Jose, the \u003cem>ao dai\u003c/em> has become something else yet again: a cultural point of pride most Vietnamese-Americans can get behind. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It is neutral. It is something that everyone agrees is beautiful,” says \u003c/span>\u003cspan style=\"font-weight: 400\">Trami Nguyen Cron, on the Ao Dai Festival’s steering committee. The author and founder of \u003ca href=\"http://www.chopsticksalley.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Chopsticks Alley\u003c/a>, a nonprofit featuring Southeast Asian Artists in the Bay Area, adds, “Let’s come together to celebrate being one, being Vietnamese!”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13832007\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832007\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-800x534.jpg\" alt=\"Models on the catwalk display fresh designs from Tuan Tran at the 2016 Ao Dai Festival in San Jose.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30914_Ao-Dai-Designed-by-Tuan-Tran-2016-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Models on the catwalk display fresh designs from Tuan Tran at the 2016 Ao Dai Festival in San Jose. \u003ccite>(Photo: Courtesy of Christine Jade)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">For so many who fled Vietnam as adults, modern art and music from the home country is an unpleasant reminder of the Communist regime. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Younger generations may quietly enjoy the cultural dynamism coming from Vietnam today. Publicly? Not so much. \u003c/span>\u003cspan style=\"font-weight: 400\">But as the years pass, young Vietnamese-Americans are eager to take the reins and lead local cultural celebrations. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Or launch them. The San Jose festival was developed by a local attorney, Jenny Do, a refugee who came to the US in 1975. Cron explains, “They want to be connected to their culture, and this is an easy way for them to do it.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This year’s theme in San Jose is a “Confluence of Rivers,” and festival will fill a whole day with fashion, music and dance\u003c/span>, starting with a weaving project at 11 a.m. in the Circle of Palms outside the San Jose Museum of Art. At 4 p.m., there’s a fashion walk – slash – march from City Hall to the Circle of Palms. At 5 p.m., there’s traditional music and dance, and finally at 5:30 p.m., a cocktail reception and dinner inside the Fairmont Hotel.\u003c/p>\n\u003cfigure id=\"attachment_13832022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832022\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-800x534.jpg\" alt=\"The Ao Dai Festival also features modern renditions of traditional music.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/RS30916_Outdoor-performance-drummers-2016-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Ao Dai Festival also features modern renditions of traditional music. \u003ccite>(Photo: Courtesy of Christine Jade)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>From demure to sexy\u003c/strong>\u003c/p>\n\u003cp>Fashion designers have been playing with the \u003cem>ao dai\u003c/em> since the 1930s, when French-trained artists started taking the costume in a more provocative direction. What was loose became more tight-fitting. Slits up the side sometimes go high enough to show a little skin.\u003c/p>\n\u003cp>A new generation of fashion designers in the Bay Area and beyond continues to play with the classic form. Cron says, “We have local designers from San Jose, from San Francisco, and also famous designers from Vietnam.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As the organizers hoped, every generation wants in on the celebration, wants to strut their stuff and celebrate. Pride, fashion, gorgeousness: what’s not to like?\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! CAAMFest Salutes Pathbreakers, Then and Now",
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"content": "\u003cp>Over three-plus decades, the San Francisco International Asian American Film Festival has expanded, evolved and shape-shifted into the cultural compendium \u003ca href=\"https://caamfest.com/2018/\" rel=\"noopener\" target=\"_blank\">CAAMFest\u003c/a>. Movies still comprise the lion’s share of the program (May 10-24 in numerous venues in San Francisco and Oakland), with music and food now taking a turn in the spotlight. What hasn’t changed across the years, though, is the festival’s commitment to Asian American history by way of tributes to directors, actors and public figures who overcame prejudice and racism.\u003c/p>\n\u003cfigure id=\"attachment_13831477\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Norman.Mineta-800x450.jpg\" alt=\"Norman Mineta, the subject of Dianne Fukami’s documentary 'An American Story: Norman Mineta and His Legacy.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13831477\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Norman.Mineta-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Norman.Mineta-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Norman.Mineta-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Norman.Mineta-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Norman.Mineta-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Norman.Mineta.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Norman.Mineta-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Norman.Mineta-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Norman.Mineta-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Norman.Mineta-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Norman.Mineta-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Norman Mineta, the subject of Dianne Fukami’s documentary ‘An American Story: Norman Mineta and His Legacy.’ \u003ccite>(Courtesy CAAMFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Norman Mineta, the first Japanese-American mayor of a major U.S. city (San Jose, in 1971), is just such an individual. Later a congressman and Secretary of Transportation, Mineta is expected at the Castro on opening night for the world premiere of Dianne Fukami’s \u003cem>An American Story: Norman Mineta and His Legacy\u003c/em>. Another Bay Area icon, the writer, actress and activist Brenda Wong Aoki, showcases her range and versatility May 24 at Herbst Theatre in the performance film \u003cem>Aunt Lily’s Flower Book: 100 Years of Legalized Racism\u003c/em>.\u003c/p>\n\u003cp>Taking a cue from Aoki, the young female filmmakers of \u003cem>Dead Pigs\u003c/em> (May 13 at the Kabuki and May 20 at the Roxie) and \u003cem>Unlovable\u003c/em> (May 11 at the Kabuki and May 20 at the Roxie) chose titles that grab attention. Cathy Yan’s ambitious debut \u003cem>Dead Pigs\u003c/em> follows five characters across China’s newly fluid social strata who are upended in some way by the discovery of thousands of deceased swine floating down the river. Suzi Yoonessi’s U.S. indie feature \u003cem>Unlovable\u003c/em>, co-written with lead actress Charlene deGuzman, follows a sex/love addict going through the highs and lows of a 12-step program. \u003cem>Unlovable\u003c/em> embodies another key aspect of CAAMFest: Highlighting the breadth of representation of Asian Americans in contemporary cinema. Did Norman Mineta imagine this degree of expression, acceptance and freedom half a century ago?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over three-plus decades, the San Francisco International Asian American Film Festival has expanded, evolved and shape-shifted into the cultural compendium \u003ca href=\"https://caamfest.com/2018/\" rel=\"noopener\" target=\"_blank\">CAAMFest\u003c/a>. Movies still comprise the lion’s share of the program (May 10-24 in numerous venues in San Francisco and Oakland), with music and food now taking a turn in the spotlight. What hasn’t changed across the years, though, is the festival’s commitment to Asian American history by way of tributes to directors, actors and public figures who overcame prejudice and racism.\u003c/p>\n\u003cfigure id=\"attachment_13831477\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Norman.Mineta-800x450.jpg\" alt=\"Norman Mineta, the subject of Dianne Fukami’s documentary 'An American Story: Norman Mineta and His Legacy.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13831477\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Norman.Mineta-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Norman.Mineta-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Norman.Mineta-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Norman.Mineta-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Norman.Mineta-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Norman.Mineta.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Norman.Mineta-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Norman.Mineta-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Norman.Mineta-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Norman.Mineta-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Norman.Mineta-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Norman Mineta, the subject of Dianne Fukami’s documentary ‘An American Story: Norman Mineta and His Legacy.’ \u003ccite>(Courtesy CAAMFest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Norman Mineta, the first Japanese-American mayor of a major U.S. city (San Jose, in 1971), is just such an individual. Later a congressman and Secretary of Transportation, Mineta is expected at the Castro on opening night for the world premiere of Dianne Fukami’s \u003cem>An American Story: Norman Mineta and His Legacy\u003c/em>. Another Bay Area icon, the writer, actress and activist Brenda Wong Aoki, showcases her range and versatility May 24 at Herbst Theatre in the performance film \u003cem>Aunt Lily’s Flower Book: 100 Years of Legalized Racism\u003c/em>.\u003c/p>\n\u003cp>Taking a cue from Aoki, the young female filmmakers of \u003cem>Dead Pigs\u003c/em> (May 13 at the Kabuki and May 20 at the Roxie) and \u003cem>Unlovable\u003c/em> (May 11 at the Kabuki and May 20 at the Roxie) chose titles that grab attention. Cathy Yan’s ambitious debut \u003cem>Dead Pigs\u003c/em> follows five characters across China’s newly fluid social strata who are upended in some way by the discovery of thousands of deceased swine floating down the river. Suzi Yoonessi’s U.S. indie feature \u003cem>Unlovable\u003c/em>, co-written with lead actress Charlene deGuzman, follows a sex/love addict going through the highs and lows of a 12-step program. \u003cem>Unlovable\u003c/em> embodies another key aspect of CAAMFest: Highlighting the breadth of representation of Asian Americans in contemporary cinema. Did Norman Mineta imagine this degree of expression, acceptance and freedom half a century ago?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The sculpture is 12 feet tall — 12 feet six inches if you count the ears. A 5,700 pound grizzly bear with two cubs nestled into her side. She has a fancy Latin name, Ursa Mater, but really, everyone just calls her Mama Penny Bear — including the artists, \u003ca href=\"https://www.mr-and-mrs-ferguson.com\" target=\"_blank\" rel=\"noopener\">Robert and Lisa Ferguson\u003c/a>.\u003cb> \u003c/b>\u003c/p>\n\u003cp>Do I need to tell you they met and married three years later\u003cspan class=\"Apple-converted-space\"> \u003c/span>at Burning Man?\u003c/p>\n\u003cp>And every year, a few weeks after they return from the burn, Lisa will come up with a flash of inspiration for their next project.\u003cspan class=\"Apple-converted-space\"> Robert says, “\u003c/span>She’ll be sitting on the couch and go “Sooooo, hear me out. I have this idea.” She comes up with these concepts, then I’m the one that has to figure out how to execute ‘em.”\u003c/p>\n\u003cp>Robert has a welding company in Hayward. Lisa’s a cinematographer, and for a number of years now, she’s been obsessed with pennies.\u003cspan class=\"Apple-converted-space\"> “\u003c/span>Cause they’re being taken \u003ca href=\"http://www.mint.ca/store/mint/about-the-mint/phasing-out-the-penny-6900002#.Wtqboy-ZOMJ\" target=\"_blank\" rel=\"noopener\">out of circulation\u003c/a> in Canada,” Lisa says. Also, \u003cspan class=\"Apple-converted-space\">“\u003c/span>People have this thing with pennies, Cause they’re whimsical. It’s a fun coin.”\u003c/p>\n\u003cp>Lisa was the one who suggested tens of thousands of pennies turned on their sides would look like fur, and Robert figured he could get them to stay up and in using adhesive stucco called Loctite over a bear built of steel and foam. “You push the pennies in and two hours later, they weren’t coming out,” he says.\u003cb> \u003c/b>\u003ci>\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13830089\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830089\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-800x450.jpg\" alt=\""Ursa Mater" aka "Mama Penny Bear" on the Playa at Burning Man. "It's battle tested," says Robert Ferguson. "You're out in the desert in wind, blowing sand, heat, rain. And people are at it, 70,000 of them. At the end of the day, it comes home intact, you know you have something that's going to be able to be in the public eye."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Ursa Mater” aka “Mama Penny Bear” on the Playa at Burning Man. “It’s battle tested,” says Robert Ferguson. “You’re out in the desert in wind, blowing sand, heat, rain. And people are at it, 70,000 of them. At the end of the day, it comes home intact, you know you have something that’s going to be able to be in the public eye.” \u003ccite>(Photo: Courtesy of Lisa Ferguson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A growing number of art works from Burning Man are moving on to the nation’s museums and city plazas. But only San Jose has a three year partnership with the \u003ca href=\"https://burningman.org/culture/burning-man-arts/\" target=\"_blank\" rel=\"noopener\">Burning Man Foundation\u003c/a> to bring a rotating cast of Burning Man sculptures to the city’s streets. It’s called the “Playa to the Paseo” project.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It all started when the Director of Cultural Affairs for the City of San Jose, Kerry Adams Hapner went to Burning Man for the first time in 2016. “I was blown away,” she says. ” The quality and scale of the artwork was unsurpassed. I know some select projects do receive grants from Burning Man, but the artists do it in large part on their own dime. And these artists are not necessarily the ones applying for our public art commissions.”\u003c/p>\n\u003cp>She was also excited by the outsider aesthetic of the art on display on the Burning Man playa. “So dynamic, engaging, interactive. I realized there is a huge opportunity here to assist the artists and deliver a reciprocal benefit to the community of San Jose,” steeped as it is, she says, in “authentic maker culture.”\u003c/p>\n\u003cp>The Burning Man Project gives out $1.3 million in grants each year and resources like fuel, heavy equipment, labor, et cetera. San Jose and Burning Man co-curate what gets selected, based largely on quality and what works in an urban environment. Cost and availability dictate how long the works stay up in San Jose.\u003c/p>\n\u003cp>Mama Penny Bear is the second of three Burning Man pieces installed in San Jose so far.\u003cspan class=\"Apple-converted-space\"> \u003c/span>The first was the Sonic Runway, at San Jose City Hall, from November to March of this year. The newest is“Tara Mechani” is a 15-foot-high metal figurative sculpture by Bay Area artist Dana Albany, now in the Plaza de Cesar Chavez though June 9, 2018.\u003c/p>\n\u003cfigure id=\"attachment_13830090\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830090\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-800x533.jpg\" alt=\""Ursa Mater" aka "Mama Penny Bear" is the third in a series of penny sculptures that started with this goose. Coming next? A bald eagle. Lisa warns it will appear more threatening. "The eagle's staring right at you. The talons are at your chest level. So you'll feel like a squirrel or a gopher, about to be taken off the ground." \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Ursa Mater” aka “Mama Penny Bear” is the third in a series of penny sculptures that started with this goose. Coming next? A bald eagle. Lisa warns it will appear more threatening. “The eagle’s staring right at you. The talons are at your chest level. So you’ll feel like a squirrel or a gopher, about to be taken off the ground.” \u003ccite>(Photo: Courtesy of Lisa Ferguson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mama Penny Bear is up in the Paseo de San Antonio near the Fairmont Hotel\u003cspan class=\"Apple-converted-space\"> \u003c/span>through the month of May. After that, it’s off to Lake Tahoe for a year. Ursa Major, the first bear the Fergusons made, is on view at Smithsonian’s \u003ca href=\"https://americanart.si.edu/exhibitions/burning-man\" target=\"_blank\" rel=\"noopener\">Renwick Gallery\u003c/a> in Washington DC. To see a great video of how both bears were made, click \u003ca href=\"https://www.mr-and-mrs-ferguson.com/ursa-major/\">here\u003c/a>.\u003c/p>\n\u003cp>Lisa and Robert say the first question everybody asks is how many pennies did it take to make Mama Penny Bear? “Also, why would anybody do this?” Lisa says, chuckling.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you don’t intuit the answer to the second question, there may be no answer that works for you. But the answer to the first question? 205,000 pennies.\u003c/p>\n\n",
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"excerpt": "Each year in Nevada’s Black Rock Desert, enormous art installations go up. Many are burned. But not all. ",
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"title": "Mama Penny Bear's Back Story is as Delightful as You'd Expect | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The sculpture is 12 feet tall — 12 feet six inches if you count the ears. A 5,700 pound grizzly bear with two cubs nestled into her side. She has a fancy Latin name, Ursa Mater, but really, everyone just calls her Mama Penny Bear — including the artists, \u003ca href=\"https://www.mr-and-mrs-ferguson.com\" target=\"_blank\" rel=\"noopener\">Robert and Lisa Ferguson\u003c/a>.\u003cb> \u003c/b>\u003c/p>\n\u003cp>Do I need to tell you they met and married three years later\u003cspan class=\"Apple-converted-space\"> \u003c/span>at Burning Man?\u003c/p>\n\u003cp>And every year, a few weeks after they return from the burn, Lisa will come up with a flash of inspiration for their next project.\u003cspan class=\"Apple-converted-space\"> Robert says, “\u003c/span>She’ll be sitting on the couch and go “Sooooo, hear me out. I have this idea.” She comes up with these concepts, then I’m the one that has to figure out how to execute ‘em.”\u003c/p>\n\u003cp>Robert has a welding company in Hayward. Lisa’s a cinematographer, and for a number of years now, she’s been obsessed with pennies.\u003cspan class=\"Apple-converted-space\"> “\u003c/span>Cause they’re being taken \u003ca href=\"http://www.mint.ca/store/mint/about-the-mint/phasing-out-the-penny-6900002#.Wtqboy-ZOMJ\" target=\"_blank\" rel=\"noopener\">out of circulation\u003c/a> in Canada,” Lisa says. Also, \u003cspan class=\"Apple-converted-space\">“\u003c/span>People have this thing with pennies, Cause they’re whimsical. It’s a fun coin.”\u003c/p>\n\u003cp>Lisa was the one who suggested tens of thousands of pennies turned on their sides would look like fur, and Robert figured he could get them to stay up and in using adhesive stucco called Loctite over a bear built of steel and foam. “You push the pennies in and two hours later, they weren’t coming out,” he says.\u003cb> \u003c/b>\u003ci>\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13830089\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830089\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-800x450.jpg\" alt=\""Ursa Mater" aka "Mama Penny Bear" on the Playa at Burning Man. "It's battle tested," says Robert Ferguson. "You're out in the desert in wind, blowing sand, heat, rain. And people are at it, 70,000 of them. At the end of the day, it comes home intact, you know you have something that's going to be able to be in the public eye."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30549_Ursa-Mater-Burning-Man-1-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Ursa Mater” aka “Mama Penny Bear” on the Playa at Burning Man. “It’s battle tested,” says Robert Ferguson. “You’re out in the desert in wind, blowing sand, heat, rain. And people are at it, 70,000 of them. At the end of the day, it comes home intact, you know you have something that’s going to be able to be in the public eye.” \u003ccite>(Photo: Courtesy of Lisa Ferguson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A growing number of art works from Burning Man are moving on to the nation’s museums and city plazas. But only San Jose has a three year partnership with the \u003ca href=\"https://burningman.org/culture/burning-man-arts/\" target=\"_blank\" rel=\"noopener\">Burning Man Foundation\u003c/a> to bring a rotating cast of Burning Man sculptures to the city’s streets. It’s called the “Playa to the Paseo” project.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It all started when the Director of Cultural Affairs for the City of San Jose, Kerry Adams Hapner went to Burning Man for the first time in 2016. “I was blown away,” she says. ” The quality and scale of the artwork was unsurpassed. I know some select projects do receive grants from Burning Man, but the artists do it in large part on their own dime. And these artists are not necessarily the ones applying for our public art commissions.”\u003c/p>\n\u003cp>She was also excited by the outsider aesthetic of the art on display on the Burning Man playa. “So dynamic, engaging, interactive. I realized there is a huge opportunity here to assist the artists and deliver a reciprocal benefit to the community of San Jose,” steeped as it is, she says, in “authentic maker culture.”\u003c/p>\n\u003cp>The Burning Man Project gives out $1.3 million in grants each year and resources like fuel, heavy equipment, labor, et cetera. San Jose and Burning Man co-curate what gets selected, based largely on quality and what works in an urban environment. Cost and availability dictate how long the works stay up in San Jose.\u003c/p>\n\u003cp>Mama Penny Bear is the second of three Burning Man pieces installed in San Jose so far.\u003cspan class=\"Apple-converted-space\"> \u003c/span>The first was the Sonic Runway, at San Jose City Hall, from November to March of this year. The newest is“Tara Mechani” is a 15-foot-high metal figurative sculpture by Bay Area artist Dana Albany, now in the Plaza de Cesar Chavez though June 9, 2018.\u003c/p>\n\u003cfigure id=\"attachment_13830090\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830090\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-800x533.jpg\" alt=\""Ursa Mater" aka "Mama Penny Bear" is the third in a series of penny sculptures that started with this goose. Coming next? A bald eagle. Lisa warns it will appear more threatening. "The eagle's staring right at you. The talons are at your chest level. So you'll feel like a squirrel or a gopher, about to be taken off the ground." \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/RS30548_Penny-The-Goose-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Ursa Mater” aka “Mama Penny Bear” is the third in a series of penny sculptures that started with this goose. Coming next? A bald eagle. Lisa warns it will appear more threatening. “The eagle’s staring right at you. The talons are at your chest level. So you’ll feel like a squirrel or a gopher, about to be taken off the ground.” \u003ccite>(Photo: Courtesy of Lisa Ferguson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mama Penny Bear is up in the Paseo de San Antonio near the Fairmont Hotel\u003cspan class=\"Apple-converted-space\"> \u003c/span>through the month of May. After that, it’s off to Lake Tahoe for a year. Ursa Major, the first bear the Fergusons made, is on view at Smithsonian’s \u003ca href=\"https://americanart.si.edu/exhibitions/burning-man\" target=\"_blank\" rel=\"noopener\">Renwick Gallery\u003c/a> in Washington DC. To see a great video of how both bears were made, click \u003ca href=\"https://www.mr-and-mrs-ferguson.com/ursa-major/\">here\u003c/a>.\u003c/p>\n\u003cp>Lisa and Robert say the first question everybody asks is how many pennies did it take to make Mama Penny Bear? “Also, why would anybody do this?” Lisa says, chuckling.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you don’t intuit the answer to the second question, there may be no answer that works for you. But the answer to the first question? 205,000 pennies.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "mural-of-pint-sized-immigration-activist-sophie-cruz-beams-over-san-jose",
"title": "Mural of Pint-Sized Immigration Activist Sophie Cruz Beams Over San Jose",
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"headTitle": "Mural of Pint-Sized Immigration Activist Sophie Cruz Beams Over San Jose | KQED",
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"content": "\u003cp>If you’ve walked past the \u003ca href=\"https://www.cdm.org\">Children’s Discovery Museum\u003c/a> in San Jose in recent weeks, you’ve seen it going up…a giant mural of a little girl. The dedication is Saturday, and likely to benefit from the spillover crowd coming from the local \u003ca href=\"https://www.eventbrite.com/e/march-for-our-lives-san-jose-official-tickets-43497165192\" target=\"_blank\" rel=\"noopener\">March For Our Lives\u003c/a> just a mile away at San Jose City Hall.\u003c/p>\n\u003cp>The mural features a gargantuan, smiling Sophie Cruz, who, at nine years old, is one of the nation’s youngest and most well-known immigration reform activists.\u003c/p>\n\u003cp>You might have seen her on YouTube. When she was five, she ran out to greet Pope Francis in his motorcade when he visited Washington DC.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=yPq5WWXcaTU]Cruz got to meet President Barack Obama at the White House. Then, last year, she impressed quite a few people with her self-possessed stage manner at the \u003ca href=\"https://www.youtube.com/watch?v=qPa464CEbuE\" target=\"_blank\" rel=\"noopener\">Woman’s March on Washington\u003c/a>.\u003c/p>\n\u003cp>The mural, called “Sophie Holding the World Together,” was commissioned by the \u003ca href=\"https://sjmusart.org\" target=\"_blank\" rel=\"noopener\">San Jose Museum of Art\u003c/a> to complement an \u003ca href=\"https://sjmusart.org/exhibition/propeller-group\" target=\"_blank\" rel=\"noopener\">exhibition\u003c/a> by the artists’ collective called \u003ca href=\"http://www.the-propeller-group.com/contactus\" target=\"_blank\" rel=\"noopener\">The Propeller Group\u003c/a>. Curator Lauren Schell Dickens explains the group is focused on “rethinking the way media does or does not support ideas around nationalism, nationality, immigration, refugeeism, connectivity; all those sorts of questions.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dickens says \u003ca href=\"http://www.tuanandrewnguyen.com\" target=\"_blank\" rel=\"noopener\">Tuan Andrew Nguyen\u003c/a> of The Propeller Group was impressed with how many murals there are in downtown San Jose and wanted to add to the mix.\u003c/p>\n\u003cp>The Propeller Group has worked with \u003ca href=\"https://elmac.net\" target=\"_blank\" rel=\"noopener\">El Mac\u003c/a> (Miles MacGregor) before in Vietnam, Cambodia and elsewhere. The art museum didn’t have an available public-facing wall. The building’s historic wing, sitting alongside the Circle of Palms Plaza, dates back to 1892. So they partnered with the art gallery \u003ca href=\"https://www.empiresevenstudios.com\" target=\"_blank\" rel=\"noopener\">Empire Seven Studios\u003c/a> to find one the few walls in San Jose it hasn’t already covered with a mural yet.\u003c/p>\n\u003cfigure id=\"attachment_13827951\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13827951 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-800x450.jpg\" alt='El Mac writes in his blog about this mural: \"When I met Sophie to shoot reference photos of her, I asked if there was anything she wanted to hold for the photographs, and she came back holding a globe. This seemed perfect, while the lotus was added to symbolize the beauty that can grow from humble origins.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">El Mac writes in his \u003ca href=\"http://mac-arte.blogspot.com/2018/03/new-mural-for-san-jose-museum-of-art.html\" target=\"_blank\" rel=\"noopener\">blog\u003c/a> about this mural: “When I met Sophie to shoot reference photos of her, I asked if there was anything she wanted to hold for the photographs, and she came back holding a globe. This seemed perfect, while the lotus was added to symbolize the beauty that can grow from humble origins.” \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Propeller Group likes to break free of traditional museum walls and get out into the community — something the San Jose Museum of Art wants to do more of, too. “The themes of the mural — this idea of borderless thinking, I think speak to our desire to engage people where they are,” Dickens says.\u003c/p>\n\u003cp>On a personal note, she adds, ““It’s a really hopeful image about what our future can be. She’s a girl. She’s young. I loved showing it to my nieces, who are nine. They’re pretty blown away that someone that young, someone their age, could have an impact, could inspire other people, could be featured in a monumentally sized wall mural.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sophie Cruz, El Mac and Tuan Andrew Nguyen of The Propeller Group will all be on hand outside the Children’s Discovery Museum Saturday at 2 p.m. to officially dedicate the mural.\u003c/p>\n\n",
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"excerpt": "Downtown San Jose's latest mural makes a monumental bid for immigration reform with a famous face.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve walked past the \u003ca href=\"https://www.cdm.org\">Children’s Discovery Museum\u003c/a> in San Jose in recent weeks, you’ve seen it going up…a giant mural of a little girl. The dedication is Saturday, and likely to benefit from the spillover crowd coming from the local \u003ca href=\"https://www.eventbrite.com/e/march-for-our-lives-san-jose-official-tickets-43497165192\" target=\"_blank\" rel=\"noopener\">March For Our Lives\u003c/a> just a mile away at San Jose City Hall.\u003c/p>\n\u003cp>The mural features a gargantuan, smiling Sophie Cruz, who, at nine years old, is one of the nation’s youngest and most well-known immigration reform activists.\u003c/p>\n\u003cp>You might have seen her on YouTube. When she was five, she ran out to greet Pope Francis in his motorcade when he visited Washington DC.\u003c/p>\n\u003cp>\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/yPq5WWXcaTU'\n title='//www.youtube.com/embed/yPq5WWXcaTU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>Cruz got to meet President Barack Obama at the White House. Then, last year, she impressed quite a few people with her self-possessed stage manner at the \u003ca href=\"https://www.youtube.com/watch?v=qPa464CEbuE\" target=\"_blank\" rel=\"noopener\">Woman’s March on Washington\u003c/a>.\u003c/p>\n\u003cp>The mural, called “Sophie Holding the World Together,” was commissioned by the \u003ca href=\"https://sjmusart.org\" target=\"_blank\" rel=\"noopener\">San Jose Museum of Art\u003c/a> to complement an \u003ca href=\"https://sjmusart.org/exhibition/propeller-group\" target=\"_blank\" rel=\"noopener\">exhibition\u003c/a> by the artists’ collective called \u003ca href=\"http://www.the-propeller-group.com/contactus\" target=\"_blank\" rel=\"noopener\">The Propeller Group\u003c/a>. Curator Lauren Schell Dickens explains the group is focused on “rethinking the way media does or does not support ideas around nationalism, nationality, immigration, refugeeism, connectivity; all those sorts of questions.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dickens says \u003ca href=\"http://www.tuanandrewnguyen.com\" target=\"_blank\" rel=\"noopener\">Tuan Andrew Nguyen\u003c/a> of The Propeller Group was impressed with how many murals there are in downtown San Jose and wanted to add to the mix.\u003c/p>\n\u003cp>The Propeller Group has worked with \u003ca href=\"https://elmac.net\" target=\"_blank\" rel=\"noopener\">El Mac\u003c/a> (Miles MacGregor) before in Vietnam, Cambodia and elsewhere. The art museum didn’t have an available public-facing wall. The building’s historic wing, sitting alongside the Circle of Palms Plaza, dates back to 1892. So they partnered with the art gallery \u003ca href=\"https://www.empiresevenstudios.com\" target=\"_blank\" rel=\"noopener\">Empire Seven Studios\u003c/a> to find one the few walls in San Jose it hasn’t already covered with a mural yet.\u003c/p>\n\u003cfigure id=\"attachment_13827951\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13827951 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-800x450.jpg\" alt='El Mac writes in his blog about this mural: \"When I met Sophie to shoot reference photos of her, I asked if there was anything she wanted to hold for the photographs, and she came back holding a globe. This seemed perfect, while the lotus was added to symbolize the beauty that can grow from humble origins.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS30030_IMG_3770-2-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">El Mac writes in his \u003ca href=\"http://mac-arte.blogspot.com/2018/03/new-mural-for-san-jose-museum-of-art.html\" target=\"_blank\" rel=\"noopener\">blog\u003c/a> about this mural: “When I met Sophie to shoot reference photos of her, I asked if there was anything she wanted to hold for the photographs, and she came back holding a globe. This seemed perfect, while the lotus was added to symbolize the beauty that can grow from humble origins.” \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Propeller Group likes to break free of traditional museum walls and get out into the community — something the San Jose Museum of Art wants to do more of, too. “The themes of the mural — this idea of borderless thinking, I think speak to our desire to engage people where they are,” Dickens says.\u003c/p>\n\u003cp>On a personal note, she adds, ““It’s a really hopeful image about what our future can be. She’s a girl. She’s young. I loved showing it to my nieces, who are nine. They’re pretty blown away that someone that young, someone their age, could have an impact, could inspire other people, could be featured in a monumentally sized wall mural.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sophie Cruz, El Mac and Tuan Andrew Nguyen of The Propeller Group will all be on hand outside the Children’s Discovery Museum Saturday at 2 p.m. to officially dedicate the mural.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Urban Sketcher Captures the Colorful Commercial Signs of a San Jose Long Gone",
"headTitle": "Urban Sketcher Captures the Colorful Commercial Signs of a San Jose Long Gone | KQED",
"content": "\u003cp>You know the old story about urban redevelopment: “They paved paradise and put up a parking lot,” as the singer-songwriter Joni Mitchell put it. A new exhibition, \u003ca href=\"http://historysanjose.org/wp/exhibits-activities/mckay-gallery/\" target=\"_blank\" rel=\"noopener\">\u003cem>Sign of the Times\u003c/em>\u003c/a>, going up at History San José, pays tribute to a chapter of Silicon Valley’s history fast fading from view.\u003c/p>\n\u003cp>Vintage signs – for shops, restaurants, bowling alleys, and so on – have a way of encapsulating our sense of place. Sometimes, the signs become landmarks, vestigial reminders of places that no longer exist.\u003c/p>\n\u003cp>Originally from Bombay, \u003ca href=\"http://www.vintagesignsanjose.com\" target=\"_blank\" rel=\"noopener\">Suhita Shirodkar\u003c/a> is an illustrator and graphic designer who moved to San Jose about 20 years ago. “I originally thought I was coming here for a couple of years, and then I ended up meeting my husband and staying on,” she says.\u003c/p>\n\u003cp>The graphic design tethers her to a computer, but sketching is something she can do anytime, anywhere. “I’m an urban sketcher, which means I walk around with a sketchbook all day in my bag, and I draw anything that catches my eye,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13827450\" class=\"wp-caption aligncenter\" style=\"max-width: 578px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13827450\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/RS29983_vintage_futurama_sm2.jpg\" alt=\"Once, this sign advertised the Futurama Bowl, a Persian-themed bowling alley. When Safeway moved in, the supermarket kept the sign, and it still stands today. This an example of Googie, a Southern California-spawned design aesthetic that merged car culture and the rage for the space age in post World War II America.\" width=\"578\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29983_vintage_futurama_sm2.jpg 578w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29983_vintage_futurama_sm2-160x221.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29983_vintage_futurama_sm2-240x332.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29983_vintage_futurama_sm2-375x519.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29983_vintage_futurama_sm2-520x720.jpg 520w\" sizes=\"(max-width: 578px) 100vw, 578px\">\u003cfigcaption class=\"wp-caption-text\">Once, this sign advertised the Futurama Bowl, a Persian-themed bowling alley. When Safeway moved in, the supermarket kept the sign, and it still stands today. This an example of Googie, a Southern California-spawned design aesthetic that merged car culture and the rage for the space age in post World War II America.7 \u003ccite>(Photo: Courtesy of Suhita Shirodkar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shirodkar noticed over time she was filling her sketchbooks with drawings and watercolors of signs like the “Dancing Pig” that advertises the now demolished Stephen’s Meat Products on Montgomery Street. The signs point to a world that disappeared before she got here.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After sketching a sign, Shirodkar heads online to resources like History San José’s \u003ca href=\"http://historysanjose.org/wp/research-collection/research-library/\" target=\"_blank\" rel=\"noopener\">Research Library and Archives\u003c/a>, as well as \u003ca href=\"https://www.facebook.com/sanjosesignproject/\" target=\"_blank\" rel=\"noopener\">The San Jose Signs Project\u003c/a>.\u003c/p>\n\u003cp>“I really like these signs. They sort of pulled me back into history, which is really what art does. It becomes a reason to understanding something, why something’s important — or why it needs to stay,” Shirodkar says.\u003c/p>\n\u003cp>Does that make her sound like an activist? She is one. Peruse the more than 50 sketches on display at History San José, and you may find yourself signing up to help preserve them.\u003c/p>\n\u003cfigure id=\"attachment_13827451\" class=\"wp-caption aligncenter\" style=\"max-width: 622px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13827451\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/RS29982_stephens_pig1_sm.jpg\" alt=\""I think if there's one beloved sign in San Jose, it's the Stephen's pig sign," says artist Suhita Shirodkar. The Preservation Action Council of San Jose is raising money to restore the neon sign. "Everybody would like to see the pig dancing again. Whatever it takes to bring that one alive, I think it'll be a good showcase for what can be done with our signs."\" width=\"622\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29982_stephens_pig1_sm.jpg 622w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29982_stephens_pig1_sm-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29982_stephens_pig1_sm-240x309.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29982_stephens_pig1_sm-375x482.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29982_stephens_pig1_sm-520x669.jpg 520w\" sizes=\"(max-width: 622px) 100vw, 622px\">\u003cfigcaption class=\"wp-caption-text\">“I think if there’s one beloved sign in San Jose, it’s the Stephen’s pig sign,” says artist Suhita Shirodkar. The Preservation Action Council of San Jose is \u003ca href=\"http://www.preservation.org/pac_donate.html\" target=\"_blank\" rel=\"noopener\">raising money\u003c/a> to restore the neon sign. “Everybody would like to see the pig dancing again. Whatever it takes to bring that one alive, I think it’ll be a good showcase for what can be done with our signs.” \u003ccite>(Photo: Courtesy of Suhita Shirodkar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Signs of the Times is open to the public on weekends at History San José until December 23, 2018. For more information, click \u003c/i>\u003cstrong style=\"font-style: italic\">\u003ca href=\"http://historysanjose.org/wp/exhibits-activities/mckay-gallery/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>\u003ci>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You know the old story about urban redevelopment: “They paved paradise and put up a parking lot,” as the singer-songwriter Joni Mitchell put it. A new exhibition, \u003ca href=\"http://historysanjose.org/wp/exhibits-activities/mckay-gallery/\" target=\"_blank\" rel=\"noopener\">\u003cem>Sign of the Times\u003c/em>\u003c/a>, going up at History San José, pays tribute to a chapter of Silicon Valley’s history fast fading from view.\u003c/p>\n\u003cp>Vintage signs – for shops, restaurants, bowling alleys, and so on – have a way of encapsulating our sense of place. Sometimes, the signs become landmarks, vestigial reminders of places that no longer exist.\u003c/p>\n\u003cp>Originally from Bombay, \u003ca href=\"http://www.vintagesignsanjose.com\" target=\"_blank\" rel=\"noopener\">Suhita Shirodkar\u003c/a> is an illustrator and graphic designer who moved to San Jose about 20 years ago. “I originally thought I was coming here for a couple of years, and then I ended up meeting my husband and staying on,” she says.\u003c/p>\n\u003cp>The graphic design tethers her to a computer, but sketching is something she can do anytime, anywhere. “I’m an urban sketcher, which means I walk around with a sketchbook all day in my bag, and I draw anything that catches my eye,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13827450\" class=\"wp-caption aligncenter\" style=\"max-width: 578px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13827450\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/RS29983_vintage_futurama_sm2.jpg\" alt=\"Once, this sign advertised the Futurama Bowl, a Persian-themed bowling alley. When Safeway moved in, the supermarket kept the sign, and it still stands today. This an example of Googie, a Southern California-spawned design aesthetic that merged car culture and the rage for the space age in post World War II America.\" width=\"578\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29983_vintage_futurama_sm2.jpg 578w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29983_vintage_futurama_sm2-160x221.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29983_vintage_futurama_sm2-240x332.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29983_vintage_futurama_sm2-375x519.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29983_vintage_futurama_sm2-520x720.jpg 520w\" sizes=\"(max-width: 578px) 100vw, 578px\">\u003cfigcaption class=\"wp-caption-text\">Once, this sign advertised the Futurama Bowl, a Persian-themed bowling alley. When Safeway moved in, the supermarket kept the sign, and it still stands today. This an example of Googie, a Southern California-spawned design aesthetic that merged car culture and the rage for the space age in post World War II America.7 \u003ccite>(Photo: Courtesy of Suhita Shirodkar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shirodkar noticed over time she was filling her sketchbooks with drawings and watercolors of signs like the “Dancing Pig” that advertises the now demolished Stephen’s Meat Products on Montgomery Street. The signs point to a world that disappeared before she got here.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After sketching a sign, Shirodkar heads online to resources like History San José’s \u003ca href=\"http://historysanjose.org/wp/research-collection/research-library/\" target=\"_blank\" rel=\"noopener\">Research Library and Archives\u003c/a>, as well as \u003ca href=\"https://www.facebook.com/sanjosesignproject/\" target=\"_blank\" rel=\"noopener\">The San Jose Signs Project\u003c/a>.\u003c/p>\n\u003cp>“I really like these signs. They sort of pulled me back into history, which is really what art does. It becomes a reason to understanding something, why something’s important — or why it needs to stay,” Shirodkar says.\u003c/p>\n\u003cp>Does that make her sound like an activist? She is one. Peruse the more than 50 sketches on display at History San José, and you may find yourself signing up to help preserve them.\u003c/p>\n\u003cfigure id=\"attachment_13827451\" class=\"wp-caption aligncenter\" style=\"max-width: 622px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13827451\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/RS29982_stephens_pig1_sm.jpg\" alt=\""I think if there's one beloved sign in San Jose, it's the Stephen's pig sign," says artist Suhita Shirodkar. The Preservation Action Council of San Jose is raising money to restore the neon sign. "Everybody would like to see the pig dancing again. Whatever it takes to bring that one alive, I think it'll be a good showcase for what can be done with our signs."\" width=\"622\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29982_stephens_pig1_sm.jpg 622w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29982_stephens_pig1_sm-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29982_stephens_pig1_sm-240x309.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29982_stephens_pig1_sm-375x482.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29982_stephens_pig1_sm-520x669.jpg 520w\" sizes=\"(max-width: 622px) 100vw, 622px\">\u003cfigcaption class=\"wp-caption-text\">“I think if there’s one beloved sign in San Jose, it’s the Stephen’s pig sign,” says artist Suhita Shirodkar. The Preservation Action Council of San Jose is \u003ca href=\"http://www.preservation.org/pac_donate.html\" target=\"_blank\" rel=\"noopener\">raising money\u003c/a> to restore the neon sign. “Everybody would like to see the pig dancing again. Whatever it takes to bring that one alive, I think it’ll be a good showcase for what can be done with our signs.” \u003ccite>(Photo: Courtesy of Suhita Shirodkar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Signs of the Times is open to the public on weekends at History San José until December 23, 2018. For more information, click \u003c/i>\u003cstrong style=\"font-style: italic\">\u003ca href=\"http://historysanjose.org/wp/exhibits-activities/mckay-gallery/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>\u003ci>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A new exhibit opens this weekend at SFO’s Terminal 3 that’s all about \u003ci>ray-dee-ohs\u003c/i>.\u003c/p>\n\u003cp>You’ve probably seen old-timey radios before, but this selection, called \u003ca href=\"https://www.flysfo.com/museum/exhibitions/radio\" target=\"_blank\" rel=\"noopener\">\u003cem>On the Radio\u003c/em>\u003c/a>, goes all the way back to the days when hobbyists tuned in with crystal headsets they built themselves to communicate over what they called the “wireless telephone.”\u003c/p>\n\u003cp>Daniel Calderon, who curated the exhibit at SFO, says it’s hard to imagine just how exciting the technology was when it first began to emerge around the turn of the last century.\u003c/p>\n\u003cp>Initially, wireless communication was ship to ship, or business to business, in Morse Code. Then, inventors began to develop ways to transmit the human voice and music.\u003c/p>\n\u003cfigure id=\"attachment_13826883\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826883\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/RS29797_02_RemlerCathedral-qut-800x718.jpg\" alt=\"The Model 21 “Minuette” c 1932 from the Remler Company Ltd. of San Francisco. Radio went mainstream in the United States during the 1930s, as most households became electrified and mass production made radios more affordable. Programming options exploded, and people turned to radio as their preferred source of news and entertainment.\" width=\"800\" height=\"718\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29797_02_RemlerCathedral-qut-800x718.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29797_02_RemlerCathedral-qut-160x144.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29797_02_RemlerCathedral-qut-768x689.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29797_02_RemlerCathedral-qut-1020x915.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29797_02_RemlerCathedral-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29797_02_RemlerCathedral-qut-1180x1058.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29797_02_RemlerCathedral-qut-960x861.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29797_02_RemlerCathedral-qut-240x215.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29797_02_RemlerCathedral-qut-375x336.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29797_02_RemlerCathedral-qut-520x466.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Model 21 “Minuette” c 1932 from the Remler Company Ltd. of San Francisco. Radio went mainstream in the United States during the 1930s, as most households became electrified and mass production made radios more affordable. Programming options exploded, and people turned to radio as their preferred source of news and entertainment. \u003ccite>(Photo: Courtesy of the SFO Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who had the engineering savvy to build a receiver were thrilled. “It was very experimental, for people who were excited just to pick up \u003cem>something\u003c/em> on the air,” Calderon says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>During his research for the exhibition, Calderon was surprised to learn about a substantial local connection: Charles “Doc” Herrold of San Jose, who began experimenting with radio transmissions as early as 1909. He started the Herrold College of Wireless and Engineering in downtown San Jose. In 1912, Herrold began regular radio broadcasts on a weekly basis.\u003c/p>\n\u003cp>Here’s a comprehensive documentary about Herrold’s trajectory, courtesy of \u003ca href=\"http://www.sjsu.edu/people/mike.adams/\" target=\"_blank\" rel=\"noopener\">Mike Adams\u003c/a>, an emeritus professor at San Jose State University.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=5nIVv_2cGaQ]\u003c/p>\n\u003cp>One of Herrold’s first DJs was his wife Sybil, who began spinning phonograph records she loaned out from a local shop happy to get the free advertising.\u003c/p>\n\u003cp>In a \u003ca href=\"https://archive.org/details/casjhsj_000143\" target=\"_blank\" rel=\"noopener\">1959 interview\u003c/a> with San Jose State professor Gordon Grebs, she recounted how she spun “up-to-date” records on her phonograph. Her listeners, mostly boys of high school age, would run down to their local music store “the next day, and be sure to buy that [song] they heard on the radio the night before. I would call out and tell them that this was KQW calling and that this was their Wednesday night program.”\u003c/p>\n\u003cp>She’s blurring her dates a bit there, as the Herrolds didn’t get a license for KQW until federal regulators required the adoption of this randomly assigned call sign in 1921. In the 1940s, CBS purchased KQW and moved it to San Francisco, eventually changing the call letters to KCBS.\u003c/p>\n\u003cfigure id=\"attachment_13826884\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13826884 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/RS29798_IMG_6330-2-qut-800x604.jpg\" alt=\"Today, if you come to the spot where KQW used to broadcast in downtown San Jose, there are three plaques outside the building, including this one. 50 W. San Fernando Street, by the way, is now home to KQED’s San Jose bureau.\" width=\"800\" height=\"604\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29798_IMG_6330-2-qut-800x604.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29798_IMG_6330-2-qut-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29798_IMG_6330-2-qut-768x580.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29798_IMG_6330-2-qut-1020x770.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29798_IMG_6330-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29798_IMG_6330-2-qut-1180x891.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29798_IMG_6330-2-qut-960x725.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29798_IMG_6330-2-qut-240x181.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29798_IMG_6330-2-qut-375x283.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29798_IMG_6330-2-qut-520x392.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Today, if you come to the spot where KQW used to broadcast in downtown San Jose, there are three plaques outside the building, including this one. 50 W. San Fernando Street, by the way, is now home to KQED’s San Jose bureau. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[contextly_sidebar id=”qETsF3fPqpO1QaKo6AczIkWMKW49UimT”]If you visit Terminal 3, you won’t find recordings of KQW. For one thing, radio was live only until recording technology made it possible to \u003ca href=\"https://www.kqed.org/arts/12198994/how-bing-crosby-and-silicon-valley-revolutionized-radio-and-tv\" target=\"_blank\" rel=\"noopener\">play from tape\u003c/a> during World War II, so very few recordings of radio before then exist.\u003c/p>\n\u003cp>But the designs of the radios themselves still evoke the enthusiasm for radio and the modern spirit it embodied in the 20th century.\u003c/p>\n\u003cp>“In the 30s, you start to get these wonderful design elements. You’ve got art deco, industrial design,” Calderon muses. His exhibition highlights more than sixty years of radio design, from the crystal sets of the 1910s to the pocket-sized transistors of the 1970s.\u003c/p>\n\u003cp>His favorites? Aside from the crystal sets, he’s especially partial to the radios designed by Charles and Ray Eames, the ground-breaking husband-and-wife team from Venice, California.\u003c/p>\n\u003cp>“One of the projects that kept them afloat while they were starting to get into furniture production was radio case design,” says Calderon. Look at that. It’s a delightful example of mid-century design. No, they don’t make radios that one anymore…\u003c/p>\n\u003cfigure id=\"attachment_13826885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826885\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/RS29799_11_Teletone160-qut-800x589.jpg\" alt=\"Model 160 c1946. The case was designed by Charles Eames. Mid-century designers experimented with materials perfected during the Second World War such as aluminum, Plexiglas, plastic, and molded plywood. Charles and Ray Eames designed radio cabinets for companies like Zenith, Emerson, and Bendix.\" width=\"800\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29799_11_Teletone160-qut-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29799_11_Teletone160-qut-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29799_11_Teletone160-qut-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29799_11_Teletone160-qut-1020x751.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29799_11_Teletone160-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29799_11_Teletone160-qut-1180x869.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29799_11_Teletone160-qut-960x707.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29799_11_Teletone160-qut-240x177.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29799_11_Teletone160-qut-375x276.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29799_11_Teletone160-qut-520x383.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Model 160 c1946. The case was designed by Charles Eames. Mid-century designers experimented with materials perfected during the Second World War such as aluminum, Plexiglas, plastic, and molded plywood. Charles and Ray Eames designed radio cabinets for companies like Zenith, Emerson, and Bendix. \u003ccite>(Photo: Courtesy of SFO Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>On the Radio\u003cem> is up at SFO’s Terminal 3 through September 31st, 2018. For more information, click \u003ca href=\"https://www.flysfo.com/museum/exhibitions/radio\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new exhibit opens this weekend at SFO’s Terminal 3 that’s all about \u003ci>ray-dee-ohs\u003c/i>.\u003c/p>\n\u003cp>You’ve probably seen old-timey radios before, but this selection, called \u003ca href=\"https://www.flysfo.com/museum/exhibitions/radio\" target=\"_blank\" rel=\"noopener\">\u003cem>On the Radio\u003c/em>\u003c/a>, goes all the way back to the days when hobbyists tuned in with crystal headsets they built themselves to communicate over what they called the “wireless telephone.”\u003c/p>\n\u003cp>Daniel Calderon, who curated the exhibit at SFO, says it’s hard to imagine just how exciting the technology was when it first began to emerge around the turn of the last century.\u003c/p>\n\u003cp>Initially, wireless communication was ship to ship, or business to business, in Morse Code. Then, inventors began to develop ways to transmit the human voice and music.\u003c/p>\n\u003cfigure id=\"attachment_13826883\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826883\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/RS29797_02_RemlerCathedral-qut-800x718.jpg\" alt=\"The Model 21 “Minuette” c 1932 from the Remler Company Ltd. of San Francisco. Radio went mainstream in the United States during the 1930s, as most households became electrified and mass production made radios more affordable. Programming options exploded, and people turned to radio as their preferred source of news and entertainment.\" width=\"800\" height=\"718\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29797_02_RemlerCathedral-qut-800x718.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29797_02_RemlerCathedral-qut-160x144.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29797_02_RemlerCathedral-qut-768x689.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29797_02_RemlerCathedral-qut-1020x915.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29797_02_RemlerCathedral-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29797_02_RemlerCathedral-qut-1180x1058.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29797_02_RemlerCathedral-qut-960x861.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29797_02_RemlerCathedral-qut-240x215.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29797_02_RemlerCathedral-qut-375x336.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29797_02_RemlerCathedral-qut-520x466.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Model 21 “Minuette” c 1932 from the Remler Company Ltd. of San Francisco. Radio went mainstream in the United States during the 1930s, as most households became electrified and mass production made radios more affordable. Programming options exploded, and people turned to radio as their preferred source of news and entertainment. \u003ccite>(Photo: Courtesy of the SFO Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who had the engineering savvy to build a receiver were thrilled. “It was very experimental, for people who were excited just to pick up \u003cem>something\u003c/em> on the air,” Calderon says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>During his research for the exhibition, Calderon was surprised to learn about a substantial local connection: Charles “Doc” Herrold of San Jose, who began experimenting with radio transmissions as early as 1909. He started the Herrold College of Wireless and Engineering in downtown San Jose. In 1912, Herrold began regular radio broadcasts on a weekly basis.\u003c/p>\n\u003cp>Here’s a comprehensive documentary about Herrold’s trajectory, courtesy of \u003ca href=\"http://www.sjsu.edu/people/mike.adams/\" target=\"_blank\" rel=\"noopener\">Mike Adams\u003c/a>, an emeritus professor at San Jose State University.\u003c/p>\n\u003cp>\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/5nIVv_2cGaQ'\n title='//www.youtube.com/embed/5nIVv_2cGaQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>One of Herrold’s first DJs was his wife Sybil, who began spinning phonograph records she loaned out from a local shop happy to get the free advertising.\u003c/p>\n\u003cp>In a \u003ca href=\"https://archive.org/details/casjhsj_000143\" target=\"_blank\" rel=\"noopener\">1959 interview\u003c/a> with San Jose State professor Gordon Grebs, she recounted how she spun “up-to-date” records on her phonograph. Her listeners, mostly boys of high school age, would run down to their local music store “the next day, and be sure to buy that [song] they heard on the radio the night before. I would call out and tell them that this was KQW calling and that this was their Wednesday night program.”\u003c/p>\n\u003cp>She’s blurring her dates a bit there, as the Herrolds didn’t get a license for KQW until federal regulators required the adoption of this randomly assigned call sign in 1921. In the 1940s, CBS purchased KQW and moved it to San Francisco, eventually changing the call letters to KCBS.\u003c/p>\n\u003cfigure id=\"attachment_13826884\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13826884 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/RS29798_IMG_6330-2-qut-800x604.jpg\" alt=\"Today, if you come to the spot where KQW used to broadcast in downtown San Jose, there are three plaques outside the building, including this one. 50 W. San Fernando Street, by the way, is now home to KQED’s San Jose bureau.\" width=\"800\" height=\"604\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29798_IMG_6330-2-qut-800x604.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29798_IMG_6330-2-qut-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29798_IMG_6330-2-qut-768x580.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29798_IMG_6330-2-qut-1020x770.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29798_IMG_6330-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29798_IMG_6330-2-qut-1180x891.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29798_IMG_6330-2-qut-960x725.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29798_IMG_6330-2-qut-240x181.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29798_IMG_6330-2-qut-375x283.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29798_IMG_6330-2-qut-520x392.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Today, if you come to the spot where KQW used to broadcast in downtown San Jose, there are three plaques outside the building, including this one. 50 W. San Fernando Street, by the way, is now home to KQED’s San Jose bureau. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>If you visit Terminal 3, you won’t find recordings of KQW. For one thing, radio was live only until recording technology made it possible to \u003ca href=\"https://www.kqed.org/arts/12198994/how-bing-crosby-and-silicon-valley-revolutionized-radio-and-tv\" target=\"_blank\" rel=\"noopener\">play from tape\u003c/a> during World War II, so very few recordings of radio before then exist.\u003c/p>\n\u003cp>But the designs of the radios themselves still evoke the enthusiasm for radio and the modern spirit it embodied in the 20th century.\u003c/p>\n\u003cp>“In the 30s, you start to get these wonderful design elements. You’ve got art deco, industrial design,” Calderon muses. His exhibition highlights more than sixty years of radio design, from the crystal sets of the 1910s to the pocket-sized transistors of the 1970s.\u003c/p>\n\u003cp>His favorites? Aside from the crystal sets, he’s especially partial to the radios designed by Charles and Ray Eames, the ground-breaking husband-and-wife team from Venice, California.\u003c/p>\n\u003cp>“One of the projects that kept them afloat while they were starting to get into furniture production was radio case design,” says Calderon. Look at that. It’s a delightful example of mid-century design. No, they don’t make radios that one anymore…\u003c/p>\n\u003cfigure id=\"attachment_13826885\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826885\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/RS29799_11_Teletone160-qut-800x589.jpg\" alt=\"Model 160 c1946. The case was designed by Charles Eames. Mid-century designers experimented with materials perfected during the Second World War such as aluminum, Plexiglas, plastic, and molded plywood. Charles and Ray Eames designed radio cabinets for companies like Zenith, Emerson, and Bendix.\" width=\"800\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29799_11_Teletone160-qut-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29799_11_Teletone160-qut-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29799_11_Teletone160-qut-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29799_11_Teletone160-qut-1020x751.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29799_11_Teletone160-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29799_11_Teletone160-qut-1180x869.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29799_11_Teletone160-qut-960x707.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29799_11_Teletone160-qut-240x177.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29799_11_Teletone160-qut-375x276.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29799_11_Teletone160-qut-520x383.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Model 160 c1946. The case was designed by Charles Eames. Mid-century designers experimented with materials perfected during the Second World War such as aluminum, Plexiglas, plastic, and molded plywood. Charles and Ray Eames designed radio cabinets for companies like Zenith, Emerson, and Bendix. \u003ccite>(Photo: Courtesy of SFO Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>On the Radio\u003cem> is up at SFO’s Terminal 3 through September 31st, 2018. For more information, click \u003ca href=\"https://www.flysfo.com/museum/exhibitions/radio\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! Nicolas Cage Leads the Parade at Cinequest",
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"content": "\u003cp>From the beginning, the Cinequest Film Festival took a contrarian approach to the necessary ritual of honoring stars and directors. Casting its net for genre pioneers, artsy independents and dogged iconoclasts, the festival chose “Mavericks” as its trademark moniker for moviemakers who hacked a singular path to cult fandom.\u003c/p>\n\u003cp>Heading this year’s class is that unpredictable rebel and, lest we forget, Academy Award winner (\u003cem>Leaving Las Vegas\u003c/em>) Nicolas Cage, who takes the California Theatre stage in San Jose on \u003ca href=\"https://payments.cinequest.org/WebSales/pages/info.aspx?evtinfo=72645~78899376-35a9-4153-8303-e1557be2dc32&epguid=d52499c1-3164-429f-b057-384dd7ec4b23&#.WpO0le7wYnU\" target=\"_blank\" rel=\"noopener\">Feb. 28\u003c/a>, followed by Tatiana Maslany and Tom Cullen (\u003ca href=\"https://payments.cinequest.org/WebSales/pages/info.aspx?evtinfo=71257~78899376-35a9-4153-8303-e1557be2dc32&epguid=d52499c1-3164-429f-b057-384dd7ec4b23&#.WpO0te7wYnU\" target=\"_blank\" rel=\"noopener\">Mar. 8\u003c/a>) and Andie MacDowell (\u003ca href=\"https://payments.cinequest.org/WebSales/pages/info.aspx?evtinfo=71255~78899376-35a9-4153-8303-e1557be2dc32&epguid=d52499c1-3164-429f-b057-384dd7ec4b23&#.WpO08-7wYnU\" target=\"_blank\" rel=\"noopener\">Mar. 10\u003c/a>). (We are aware that Ms. MacDowell got her start as a non-mavericky model. Her perfectly pitched work in \u003cem>The Player\u003c/em> and \u003cem>Short Cuts\u003c/em>, both directed by the ultimate maverick Robert Altman, gives her all the street cred she’ll ever need.)\u003c/p>\n\u003cfigure id=\"attachment_13825621\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13825621\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/ismaels-ghosts.jpg\" alt=\"Still from 'Ismael's Ghosts.'\" width=\"2048\" height=\"1366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ismaels-ghosts.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ismaels-ghosts-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ismaels-ghosts-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ismaels-ghosts-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ismaels-ghosts-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ismaels-ghosts-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ismaels-ghosts-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ismaels-ghosts-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ismaels-ghosts-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ismaels-ghosts-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ismaels-ghosts-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Ismael’s Ghosts.’ \u003ccite>(Courtesy of Cinequest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The South Bay’s major movie blowout now calls itself the \u003ca href=\"https://www.cinequest.org\" target=\"_blank\" rel=\"noopener\">Cinequest Film & VR Festival\u003c/a> (Feb. 27–Mar. 11), reflecting its incorporation of virtual-reality storytelling. The raft of VR programming on view this year includes \u003cem>The Humanity Bureau VRevolution\u003c/em>, which stars Mr. Cage and shares DNA with his forthcoming feature film \u003cem>The Humanity Bureau\u003c/em>.\u003c/p>\n\u003cp>The film offerings, as is always the case at Cinequest, are eclectic—or should we say iconoclastic. The irresistibly emotional documentary \u003cem>Birth of a Family\u003c/em> (\u003ca href=\"https://payments.cinequest.org/websales/pages/info.aspx?evtinfo=70939~78899376-35a9-4153-8303-e1557be2dc32&epguid=d52499c1-3164-429f-b057-384dd7ec4b23&#.WpO3Ou7wYnU\" target=\"_blank\" rel=\"noopener\">Feb. 28, Mar. 1 and 7\u003c/a>) reunites four middle-aged siblings more than four decades after the Canadian government took them, one by one, from their indigenous single mother.\u003c/p>\n\u003cp>The veteran French writer-director Arnaud Desplechin examines the bonds of loyalty and trust between husband and wife—and references \u003cem>Vertigo\u003c/em> along the way—in \u003cem>Ismael’s Ghosts\u003c/em> (\u003ca href=\"https://payments.cinequest.org/websales/pages/info.aspx?evtinfo=70965~78899376-35a9-4153-8303-e1557be2dc32&epguid=d52499c1-3164-429f-b057-384dd7ec4b23&#.WpO3c-7wYnU\" target=\"_blank\" rel=\"noopener\">Mar. 10\u003c/a>), starring the dream cast of Charlotte Gainsbourg, Mathieu Amalric and Marion Cotillard.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Empathy, and persistence, are the underlying themes of \u003cem>Risking Light\u003c/em> (\u003ca href=\"https://payments.cinequest.org/websales/pages/info.aspx?evtinfo=70998~78899376-35a9-4153-8303-e1557be2dc32&epguid=d52499c1-3164-429f-b057-384dd7ec4b23&\" target=\"_blank\" rel=\"noopener\">Mar. 3, 5 and 9\u003c/a>), which receives its world premiere at Cinequest. The documentary treks from Cambodia to Tasmania to Minneapolis to impart the inspiring stories of people who transcended profound loss and persecution to forge healthy, productive lives. Make no mistake, they are mavericks, too.\u003c/p>\n\u003cp>\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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From the beginning, the Cinequest Film Festival took a contrarian approach to the necessary ritual of honoring stars and directors. Casting its net for genre pioneers, artsy independents and dogged iconoclasts, the festival chose “Mavericks” as its trademark moniker for moviemakers who hacked a singular path to cult fandom.\u003c/p>\n\u003cp>Heading this year’s class is that unpredictable rebel and, lest we forget, Academy Award winner (\u003cem>Leaving Las Vegas\u003c/em>) Nicolas Cage, who takes the California Theatre stage in San Jose on \u003ca href=\"https://payments.cinequest.org/WebSales/pages/info.aspx?evtinfo=72645~78899376-35a9-4153-8303-e1557be2dc32&epguid=d52499c1-3164-429f-b057-384dd7ec4b23&#.WpO0le7wYnU\" target=\"_blank\" rel=\"noopener\">Feb. 28\u003c/a>, followed by Tatiana Maslany and Tom Cullen (\u003ca href=\"https://payments.cinequest.org/WebSales/pages/info.aspx?evtinfo=71257~78899376-35a9-4153-8303-e1557be2dc32&epguid=d52499c1-3164-429f-b057-384dd7ec4b23&#.WpO0te7wYnU\" target=\"_blank\" rel=\"noopener\">Mar. 8\u003c/a>) and Andie MacDowell (\u003ca href=\"https://payments.cinequest.org/WebSales/pages/info.aspx?evtinfo=71255~78899376-35a9-4153-8303-e1557be2dc32&epguid=d52499c1-3164-429f-b057-384dd7ec4b23&#.WpO08-7wYnU\" target=\"_blank\" rel=\"noopener\">Mar. 10\u003c/a>). (We are aware that Ms. MacDowell got her start as a non-mavericky model. Her perfectly pitched work in \u003cem>The Player\u003c/em> and \u003cem>Short Cuts\u003c/em>, both directed by the ultimate maverick Robert Altman, gives her all the street cred she’ll ever need.)\u003c/p>\n\u003cfigure id=\"attachment_13825621\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13825621\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/ismaels-ghosts.jpg\" alt=\"Still from 'Ismael's Ghosts.'\" width=\"2048\" height=\"1366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ismaels-ghosts.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ismaels-ghosts-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ismaels-ghosts-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ismaels-ghosts-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ismaels-ghosts-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ismaels-ghosts-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ismaels-ghosts-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ismaels-ghosts-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ismaels-ghosts-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ismaels-ghosts-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ismaels-ghosts-520x347.jpg 520w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Ismael’s Ghosts.’ \u003ccite>(Courtesy of Cinequest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The South Bay’s major movie blowout now calls itself the \u003ca href=\"https://www.cinequest.org\" target=\"_blank\" rel=\"noopener\">Cinequest Film & VR Festival\u003c/a> (Feb. 27–Mar. 11), reflecting its incorporation of virtual-reality storytelling. The raft of VR programming on view this year includes \u003cem>The Humanity Bureau VRevolution\u003c/em>, which stars Mr. Cage and shares DNA with his forthcoming feature film \u003cem>The Humanity Bureau\u003c/em>.\u003c/p>\n\u003cp>The film offerings, as is always the case at Cinequest, are eclectic—or should we say iconoclastic. The irresistibly emotional documentary \u003cem>Birth of a Family\u003c/em> (\u003ca href=\"https://payments.cinequest.org/websales/pages/info.aspx?evtinfo=70939~78899376-35a9-4153-8303-e1557be2dc32&epguid=d52499c1-3164-429f-b057-384dd7ec4b23&#.WpO3Ou7wYnU\" target=\"_blank\" rel=\"noopener\">Feb. 28, Mar. 1 and 7\u003c/a>) reunites four middle-aged siblings more than four decades after the Canadian government took them, one by one, from their indigenous single mother.\u003c/p>\n\u003cp>The veteran French writer-director Arnaud Desplechin examines the bonds of loyalty and trust between husband and wife—and references \u003cem>Vertigo\u003c/em> along the way—in \u003cem>Ismael’s Ghosts\u003c/em> (\u003ca href=\"https://payments.cinequest.org/websales/pages/info.aspx?evtinfo=70965~78899376-35a9-4153-8303-e1557be2dc32&epguid=d52499c1-3164-429f-b057-384dd7ec4b23&#.WpO3c-7wYnU\" target=\"_blank\" rel=\"noopener\">Mar. 10\u003c/a>), starring the dream cast of Charlotte Gainsbourg, Mathieu Amalric and Marion Cotillard.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"https://cinequest.org\" target=\"_blank\" rel=\"noopener\">Cinequest\u003c/a>, the annual Silicon Valley film festival, is undeniably huge: two weeks, 258 films, and if attendance this year is anything like last year’s, more than 105,000 attendees in San Jose and Redwood City.\u003c/p>\n\u003cp>As with watching the Olympics, you kind of have to pick your focus or risk getting lost in the enormity of it all. Cinequest is perhaps known for embracing new technologies, like virtual reality and augmented reality, starting last year — but that’s either your cup of tea or it’s not.\u003c/p>\n\u003cp>So why not dial in on Indian films? More than eight are playing this year, a record for Cinequest.\u003c/p>\n\u003cp>“We’re in Silicon Valley and the Indian community is huge for us, and has been forever, and we bring some exciting choice every year,” says Halfdan Hussey, co-founder and director of Cinequest, which is now in its 28th year.\u003c/p>\n\u003cp>In \u003cem>Venus\u003c/em>, a transgender Indian-Canadian’s life is thrown upside down when her teenage son shows up.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=FdZWJy9A2ns]\u003c/p>\n\u003cp>While \u003cem>Venus\u003c/em> is the epitome of a comedic melodrama, the other films include a documentary about an observant Muslim girl with a non-traditional passion for cricket, to a New Age mystery set in a Himalayan ashram, and a short film that summarizes the generational divide between a young Indian-American woman and her dad by focusing on his sartorially unfortunate fanny pack.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=8LQiz81KYgw]\u003c/p>\n\u003cp>Hussey says such variety reflects India’s well-established tradition and passion for filmmaking. “It’s just a part of the fabric and the DNA of the culture,” he explains, adding that film festivals can deliver a sense of where global cultures are now in a way that glossy, big-budget blockbusters can’t.\u003c/p>\n\u003cp>Hussey says many film showcases highlight already famous movies, because that’s what draws in the big crowds. “And we do a lot of that at Cinequest, and it’s wonderful,” Hussey says. “But I’m very proud of our commitment to the emerging artists… to showcasing artists who are not famous yet.”\u003c/p>\n\u003cp>“Not famous yet” means they might not even have distribution deals … meaning you can’t see many of these movies online.\u003c/p>\n\u003cp>Ben Rekhi, director of \u003ca href=\"https://payments.cinequest.org/WebSales/pages/info.aspx?evtinfo=70931~78899376-35a9-4153-8303-e1557be2dc32&epguid=c5191bc9-d5f7-4fab-87e1-de8dcbff688d&#.WpCTh2aZOMI\" target=\"_blank\" rel=\"noopener\">\u003cem>The Ashram\u003c/em>\u003c/a>, which is premiering at Cinequest, says there’s something irreplaceable about seeing a film on the big screen.\u003c/p>\n\u003cp>“While the online/streaming experience is fantastic for reaching a large audience, the downside is that there is no physical interaction or shared experience with that audience. And because theatrical distribution has become increasingly difficult for independent films, oftentimes the festival circuit is the only chance filmmakers and audiences have to marvel in the wonder of these pictures on the big screen.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Cinequest opens Feb. 27, and continues through March 11 at the California and Hammer Theatres in San Jose, and at the Century Downtown 20 theaters in Redwood City. \u003ca href=\"https://www.cinequest.org/\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://cinequest.org\" target=\"_blank\" rel=\"noopener\">Cinequest\u003c/a>, the annual Silicon Valley film festival, is undeniably huge: two weeks, 258 films, and if attendance this year is anything like last year’s, more than 105,000 attendees in San Jose and Redwood City.\u003c/p>\n\u003cp>As with watching the Olympics, you kind of have to pick your focus or risk getting lost in the enormity of it all. Cinequest is perhaps known for embracing new technologies, like virtual reality and augmented reality, starting last year — but that’s either your cup of tea or it’s not.\u003c/p>\n\u003cp>So why not dial in on Indian films? More than eight are playing this year, a record for Cinequest.\u003c/p>\n\u003cp>“We’re in Silicon Valley and the Indian community is huge for us, and has been forever, and we bring some exciting choice every year,” says Halfdan Hussey, co-founder and director of Cinequest, which is now in its 28th year.\u003c/p>\n\u003cp>In \u003cem>Venus\u003c/em>, a transgender Indian-Canadian’s life is thrown upside down when her teenage son shows up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Shabazz Palaces (Ishmael Butler and Tendai Maraire) makes music that sounds like what might happen if Sun Ra played hip-hop. Afro-futurist and socially conscious, the duo’s songs are also just plain \u003cem>weird\u003c/em>. Butler’s a former member of Digable Planets, among the most influential early hip-hop bands; my co-host this week, Marc Bamuthi Joseph, says he loves Shabazz and has an aesthetic debt to repay to Butler.\u003c/span>\u003c/p>\n\u003cp>“I was raised on a bunch of writers,” Marc says, “from Toni Morrison to Sonia Sanchez to George Orwell to Alice Walker, but the writers who most shaped my literary sensibilities were MCs like KRS-ONE, Chuck D of Public Enemy, and folks in the Native Tongues crew. The group that really brought it all together for me at a critical moment of my life was Digable Planets with the song ‘La Femme Fetal,’ basically the cut that made me think I could be a poet too.” Perhaps Butler and Shabazz Palaces will inspire you too. They perform at the Ritz in San Jose on Feb. 20, and at the Chapel on Feb. 21 as part of Noise Pop; details \u003ca href=\"http://www.shabazzpalaces.com/\" target=\"_blank\" rel=\"noopener\">here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4wQUv87URYU\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Today, hundreds of thousands of people are expected to turn out for the second annual \u003ca href=\"https://womensmarchbayarea.org/logistics-san-jose/\" target=\"_blank\" rel=\"noopener\">Women’s March\u003c/a>. It’s a fair bet many of the people on the streets will have been to the first march last year, like Patricia Leung of Santa Clara.\u003c/p>\n\u003cp>I first met Leung at last year’s march in San Jose. She and her husband Jonathan Evans crocheted pink yarn pussy hats \u003ci>on the scene\u003c/i>, and gave them all away. A year later, the pussy hat is still the symbol of resistance to the Trump Administration, and Leung is still crocheting.\u003c/p>\n\u003cp>She figures she’s made about 200 hats so far. “I can never keep up with the demand. People just keep asking for them. I’ve been producing continuously, and handing them out,” she says, adding that she’s become more politically engaged since last year’s march, and more personally engaged, too.\u003c/p>\n\u003cfigure id=\"attachment_13819621\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819621\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/16229519_217996265336119_7972623430786744320_n.jpg\" alt=\"Patricia Leung multi-tasks on her commute.\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/16229519_217996265336119_7972623430786744320_n.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/16229519_217996265336119_7972623430786744320_n-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/16229519_217996265336119_7972623430786744320_n-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/16229519_217996265336119_7972623430786744320_n-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/16229519_217996265336119_7972623430786744320_n-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/16229519_217996265336119_7972623430786744320_n-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/16229519_217996265336119_7972623430786744320_n-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/16229519_217996265336119_7972623430786744320_n-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/16229519_217996265336119_7972623430786744320_n-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/16229519_217996265336119_7972623430786744320_n-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/16229519_217996265336119_7972623430786744320_n-150x150.jpg 150w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Patricia Leung multi-tasks on her commute. \u003ccite>(Photo: Courtesy of Tomiko Oskotsky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I am actually a first generation immigrant. Like, from Hong Kong. I came here when I was 10. Particularly with the recent comments that the president has been making, it really strikes home, Leung says.\u003c/p>\n\u003cp>She started making hats with the \u003ca href=\"https://www.pussyhatproject.com\" target=\"_blank\" rel=\"noopener\">Pussy Hat Project\u003c/a>, and has also participated in the \u003ca href=\"https://www.welcomeblanket.org\" target=\"_blank\" rel=\"noopener\">Welcome Blanket\u003c/a> project the group launched last summer to celebrate refugees and immigrants in the United States.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Leung chronicles her “craftivism” on Instagram under the handle \u003ca href=\"https://www.instagram.com/thenastyhooker/\" target=\"_blank\" rel=\"noopener\">the nastyhooker\u003c/a>. But the Silicon Valley software company product manager says there’s something irreplaceable about an in person, analog march.\u003c/p>\n\u003cfigure id=\"attachment_13819622\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13819622 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-800x800.jpg\" alt='The \"Welcome Blanket\" project has extra resonance for Patricia Leung because she is a first-generation immigrant to the U.S..' width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The “Welcome Blanket” project has extra resonance for Patricia Leung because she is a first-generation immigrant to the U.S.. \u003ccite>(Photo: Courtesy of Patricia Leung)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“One of the things I think technology has done to us is to isolate us into silos, and having the march where it brings people out with the same ideologies to just talk together and be with each other — I think it really helps.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Look for her today on the streets of San Jose. She’ll be the one crocheting as she marches.\u003c/p>\n\n",
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"excerpt": "Politics and yarn have dominated the life of Silicon Vally product manager Patricia Leung this last year.",
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"title": "A Year of Pussy Hats and Political Activism for One San Jose Marcher | KQED",
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"headline": "A Year of Pussy Hats and Political Activism for One San Jose Marcher",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Today, hundreds of thousands of people are expected to turn out for the second annual \u003ca href=\"https://womensmarchbayarea.org/logistics-san-jose/\" target=\"_blank\" rel=\"noopener\">Women’s March\u003c/a>. It’s a fair bet many of the people on the streets will have been to the first march last year, like Patricia Leung of Santa Clara.\u003c/p>\n\u003cp>I first met Leung at last year’s march in San Jose. She and her husband Jonathan Evans crocheted pink yarn pussy hats \u003ci>on the scene\u003c/i>, and gave them all away. A year later, the pussy hat is still the symbol of resistance to the Trump Administration, and Leung is still crocheting.\u003c/p>\n\u003cp>She figures she’s made about 200 hats so far. “I can never keep up with the demand. People just keep asking for them. I’ve been producing continuously, and handing them out,” she says, adding that she’s become more politically engaged since last year’s march, and more personally engaged, too.\u003c/p>\n\u003cfigure id=\"attachment_13819621\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13819621\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/16229519_217996265336119_7972623430786744320_n.jpg\" alt=\"Patricia Leung multi-tasks on her commute.\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/16229519_217996265336119_7972623430786744320_n.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/16229519_217996265336119_7972623430786744320_n-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/16229519_217996265336119_7972623430786744320_n-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/16229519_217996265336119_7972623430786744320_n-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/16229519_217996265336119_7972623430786744320_n-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/16229519_217996265336119_7972623430786744320_n-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/16229519_217996265336119_7972623430786744320_n-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/16229519_217996265336119_7972623430786744320_n-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/16229519_217996265336119_7972623430786744320_n-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/16229519_217996265336119_7972623430786744320_n-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/16229519_217996265336119_7972623430786744320_n-150x150.jpg 150w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Patricia Leung multi-tasks on her commute. \u003ccite>(Photo: Courtesy of Tomiko Oskotsky)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I am actually a first generation immigrant. Like, from Hong Kong. I came here when I was 10. Particularly with the recent comments that the president has been making, it really strikes home, Leung says.\u003c/p>\n\u003cp>She started making hats with the \u003ca href=\"https://www.pussyhatproject.com\" target=\"_blank\" rel=\"noopener\">Pussy Hat Project\u003c/a>, and has also participated in the \u003ca href=\"https://www.welcomeblanket.org\" target=\"_blank\" rel=\"noopener\">Welcome Blanket\u003c/a> project the group launched last summer to celebrate refugees and immigrants in the United States.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Leung chronicles her “craftivism” on Instagram under the handle \u003ca href=\"https://www.instagram.com/thenastyhooker/\" target=\"_blank\" rel=\"noopener\">the nastyhooker\u003c/a>. But the Silicon Valley software company product manager says there’s something irreplaceable about an in person, analog march.\u003c/p>\n\u003cfigure id=\"attachment_13819622\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13819622 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-800x800.jpg\" alt='The \"Welcome Blanket\" project has extra resonance for Patricia Leung because she is a first-generation immigrant to the U.S..' width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/22793840_831466117055636_1605182441343942656_n.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The “Welcome Blanket” project has extra resonance for Patricia Leung because she is a first-generation immigrant to the U.S.. \u003ccite>(Photo: Courtesy of Patricia Leung)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“One of the things I think technology has done to us is to isolate us into silos, and having the march where it brings people out with the same ideologies to just talk together and be with each other — I think it really helps.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Look for her today on the streets of San Jose. She’ll be the one crocheting as she marches.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "san-jose-hip-hop-dance-class-inspires-teacher-to-reach-for-the-stars",
"title": "San Jose Hip Hop Dance Class Inspires Teacher to Reach for the Stars",
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"content": "\u003cp>On January 19th, 2018, “America’s Got Talent” \u003ca href=\"http://www.americasgottalentauditions.com/audition-cities/san-jose/\" target=\"_blank\" rel=\"noopener\">holds auditions\u003c/a> in San Jose. Among the competitors will be a local dance teacher to developmentally disabled adults.\u003c/p>\n\u003cp>\u003ca href=\"https://www.latizmohiphop.com\" target=\"_blank\" rel=\"noopener\">Izabella Jay Torres\u003c/a> calls her style “Latizmo.” She explains, “it has a lot of attitude, popping, locking, salsa, merengue, a little Aztec in it. Also, break dancing.”\u003c/p>\n\u003cp>This is no average dance class, but not just because the style of dance is unique.\u003c/p>\n\u003cp>https://instagram.com/p/BeJw6xXB_7U/\u003c/p>\n\u003cp>Some of the students can talk. Some can’t. Some can walk. Some can’t. The students at the \u003ca href=\"http://www.collegeofadaptivearts.org\" target=\"_blank\" rel=\"noopener\">College of Adaptive Arts\u003c/a> all struggle with physical challenges like autism and Down syndrome. The non-profit, operating out of a modest office space in San Jose, has been offering arts classes to developmentally disabled adults since 2009.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But whatever their individual stories, every single dancer can respond to music — and to Torres. “They have no fear. They have no stereotypes. They have unconditional love,” says Torres.\u003c/p>\n\u003cfigure id=\"attachment_13819085\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819085\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-800x450.jpg\" alt=\"Izabella Torres holds the mic for Carlos Solorzano while Robert Tafoya looks on.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2.jpg 1564w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Izabella Torres holds the mic for Carlos Solorzano while Robert Tafoya looks on. \u003ccite>(Photo: Courtesy of Sridhar Pursai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That means a lot to Torres, who says she was sexually abused by an older brother when she was five years old in Hollister. Dancing helped to heal those psychological wounds, as does teaching at the college.\u003c/p>\n\u003cp>“What are the three Ps?” she calls out to the class. “Patience, passion, perserverance!” they yell back. “What are the three Rs?” “Respect, respect, respect!”\u003c/p>\n\u003cp>Torres doesn’t talk much during the class. She dances, and the students follow as best they can. “I put my hand out and most of the time, they’ll put their hand in my hand,” Torres says. “People have a really hard time communicating with each other, expressing our pain, expressing our passion. What Latizmo does, for me and my students, is that it releases the language of the soul.”\u003c/p>\n\u003cp>The class also gets out into the community for performances and competitions. Watch them impress the crowd at the \u003ca href=\"http://stanforddm.org\" target=\"_blank\" rel=\"noopener\">Stanford University Dance Marathon\u003c/a> back in February of this year.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=J4CIO4uPpMw]\u003c/p>\n\u003cp>“I love to be with my friends and follow the steps,” says Jenni Pencer of San Jose, who’s been coming to the Latizmo classes since they started.\u003c/p>\n\u003cp>Pencer’s calendar is packed with physical activities. She’s big into a variety of sports, including swimming and basketball. She’s a “Hall of Famer” in \u003ca href=\"http://www.specialolympics.org\" target=\"_blank\" rel=\"noopener\">Special Olympics\u003c/a>. But many people, with special needs or without, struggle to get off the couch.\u003c/p>\n\u003cp>College co-founder and executive director Deanna Pursai notes many people who can’t be convinced to exercise jump at the chance to bust a move on the dance floor. “You’re focusing on something you love, and you’re dancing with people who are your friends.”\u003c/p>\n\u003cp>“Isby teaches us never to be afraid to try,” says Rachel Henderson, who attends the class together with Lisa, her mother. Lisa waves one arm in the air while the other swings Rachel’s wheelchair around. Rachel has cerebral palsy, but she’s fully cognitive and can talk through her computer. “I am so thankful for my teacher. Because of her, I will never give up on myself or never will stop dancing,” Rachael Henderson says.\u003c/p>\n\u003cfigure id=\"attachment_13819097\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819097\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/IMG_3633-800x450.jpg\" alt=\"Rachel and Lisa Henderson both say they've gained confidence and improved coordination on the dance floor with Izabella Torres.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel and Lisa Henderson both say they’ve gained confidence and improved coordination on the dance floor with Izabella Torres. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Torres faces fierce competition with America’s Got Talent next week, but the class knows: any excuse to get out on the dance floor and strut your stuff is a good one.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On January 19th, 2018, “America’s Got Talent” \u003ca href=\"http://www.americasgottalentauditions.com/audition-cities/san-jose/\" target=\"_blank\" rel=\"noopener\">holds auditions\u003c/a> in San Jose. Among the competitors will be a local dance teacher to developmentally disabled adults.\u003c/p>\n\u003cp>\u003ca href=\"https://www.latizmohiphop.com\" target=\"_blank\" rel=\"noopener\">Izabella Jay Torres\u003c/a> calls her style “Latizmo.” She explains, “it has a lot of attitude, popping, locking, salsa, merengue, a little Aztec in it. Also, break dancing.”\u003c/p>\n\u003cp>This is no average dance class, but not just because the style of dance is unique.\u003c/p>\n\u003cp>https://instagram.com/p/BeJw6xXB_7U/\u003c/p>\n\u003cp>Some of the students can talk. Some can’t. Some can walk. Some can’t. The students at the \u003ca href=\"http://www.collegeofadaptivearts.org\" target=\"_blank\" rel=\"noopener\">College of Adaptive Arts\u003c/a> all struggle with physical challenges like autism and Down syndrome. The non-profit, operating out of a modest office space in San Jose, has been offering arts classes to developmentally disabled adults since 2009.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But whatever their individual stories, every single dancer can respond to music — and to Torres. “They have no fear. They have no stereotypes. They have unconditional love,” says Torres.\u003c/p>\n\u003cfigure id=\"attachment_13819085\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819085\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-800x450.jpg\" alt=\"Izabella Torres holds the mic for Carlos Solorzano while Robert Tafoya looks on.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Carlos_5x7-2.jpg 1564w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Izabella Torres holds the mic for Carlos Solorzano while Robert Tafoya looks on. \u003ccite>(Photo: Courtesy of Sridhar Pursai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That means a lot to Torres, who says she was sexually abused by an older brother when she was five years old in Hollister. Dancing helped to heal those psychological wounds, as does teaching at the college.\u003c/p>\n\u003cp>“What are the three Ps?” she calls out to the class. “Patience, passion, perserverance!” they yell back. “What are the three Rs?” “Respect, respect, respect!”\u003c/p>\n\u003cp>Torres doesn’t talk much during the class. She dances, and the students follow as best they can. “I put my hand out and most of the time, they’ll put their hand in my hand,” Torres says. “People have a really hard time communicating with each other, expressing our pain, expressing our passion. What Latizmo does, for me and my students, is that it releases the language of the soul.”\u003c/p>\n\u003cp>The class also gets out into the community for performances and competitions. Watch them impress the crowd at the \u003ca href=\"http://stanforddm.org\" target=\"_blank\" rel=\"noopener\">Stanford University Dance Marathon\u003c/a> back in February of this year.\u003c/p>\n\u003cp>\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/J4CIO4uPpMw'\n title='//www.youtube.com/embed/J4CIO4uPpMw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“I love to be with my friends and follow the steps,” says Jenni Pencer of San Jose, who’s been coming to the Latizmo classes since they started.\u003c/p>\n\u003cp>Pencer’s calendar is packed with physical activities. She’s big into a variety of sports, including swimming and basketball. She’s a “Hall of Famer” in \u003ca href=\"http://www.specialolympics.org\" target=\"_blank\" rel=\"noopener\">Special Olympics\u003c/a>. But many people, with special needs or without, struggle to get off the couch.\u003c/p>\n\u003cp>College co-founder and executive director Deanna Pursai notes many people who can’t be convinced to exercise jump at the chance to bust a move on the dance floor. “You’re focusing on something you love, and you’re dancing with people who are your friends.”\u003c/p>\n\u003cp>“Isby teaches us never to be afraid to try,” says Rachel Henderson, who attends the class together with Lisa, her mother. Lisa waves one arm in the air while the other swings Rachel’s wheelchair around. Rachel has cerebral palsy, but she’s fully cognitive and can talk through her computer. “I am so thankful for my teacher. Because of her, I will never give up on myself or never will stop dancing,” Rachael Henderson says.\u003c/p>\n\u003cfigure id=\"attachment_13819097\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819097\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/IMG_3633-800x450.jpg\" alt=\"Rachel and Lisa Henderson both say they've gained confidence and improved coordination on the dance floor with Izabella Torres.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/IMG_3633.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel and Lisa Henderson both say they’ve gained confidence and improved coordination on the dance floor with Izabella Torres. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Torres faces fierce competition with America’s Got Talent next week, but the class knows: any excuse to get out on the dance floor and strut your stuff is a good one.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://www.the-propeller-group.com\" target=\"_blank\" rel=\"noopener noreferrer\">The Propeller Group\u003c/a> was established in 2006 as a cross-disciplinary art collective. With backgrounds in visual art, film, and video, Phunam, Matt Lucero, and Tuan Andrew Nguyen produce work themselves and collaborate with others from their dual headquarters in Ho Chi Minh City and Los Angeles.\u003c/p>\n\u003cp>They’ve shown work all over the globe and now they’re at the \u003ca href=\"https://sjmusart.org/exhibition/propeller-group\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose Museum of Art\u003c/a> with a provocative survey of projects including video, installation, and sculptural works. One highlight of the exhibition is \u003ci>The Living Need Light, the Dead Need Music, \u003c/i>a short film journeying through the funeral traditions and rituals of south Vietnam.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=oxiyEp1xtXA]\u003c/p>\n\u003cp>In collaboration with internationally acclaimed graffiti writer El Mac and local artists, the Propeller Group also presented a new public mural at the Children’s Discovery Museum in downtown San Jose in collaboration with El Mac, a public artist based in Los Angeles.\u003c/p>\n\u003cp>The Propeller Group at the San Jose Museum of Art continues through March 25. \u003ca href=\"https://sjmusart.org/exhibition/propeller-group\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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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.",
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"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",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"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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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"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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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
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"order": 18
},
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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/",
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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": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"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",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"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": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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