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"slug": "walkabout-san-joses-chicano-murals",
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"content": "\u003cp>A few weeks ago, news broke about Bay Area artist Jose Meza Velasquez \u003ca href=\"https://www.mercurynews.com/2018/11/05/mysterious-removal-of-historic-san-jose-mural-sparks-5-million-lawsuit/\" target=\"_blank\" rel=\"noopener\">filing a $5 million lawsuit\u003c/a> after a real estate developer painted over his historic \u003cem>Mural de la Raza\u003c/em> in San Jose.\u003c/p>\n\u003cp>But by and large, Chicano mural art is still thriving in the South Bay—and worth a sightseeing tour on your preferred set of wheels.\u003c/p>\n\u003cp>\u003cem>Mural de la Raza\u003c/em> was not the only mural to pay homage to Chicano culture, but it was up for more than 30 years; one of a shrinking number of murals to last that long. Murals, and especially Chicano murals, function as a form of visual history for the neighborhoods in which they sit. That helps to explain the outrage when Velasquez’s work disappeared under a coat of gray paint.\u003c/p>\n\u003cp>I asked a few people in the know where to spot some of San Jose’s most impressive older murals. Jose Manuel Valle of \u003ca href=\"https://www.siliconvalleydebug.org\" target=\"_blank\" rel=\"noopener\">Silicon Valley De-Bug\u003c/a> was more than happy to oblige with a list. He’s a key figure behind El Emergency Comité for the Preservation of Chicano Arts, which sponsored an \u003ca href=\"https://www.change.org/p/restore-mural-de-la-raza-in-san-jose\" target=\"_blank\" rel=\"noopener\">online petition in support of Velasquez\u003c/a> that’s garnered more than 2,900 signatures.\u003c/p>\n\u003cp>“Right now, the most important thing is to build public interest,” Valle says.\u003c/p>\n\u003cfigure id=\"attachment_13845893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845893\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RS34242_dEBsesIhcbhuqUG-800x450-noPad-qut-800x450.jpg\" alt=\"Detail of "Mural de la Raza' by Jose Meza Velasquez, Frank Torres and a local youth group. At the time, the building was a Payless Shoes store. Ahead of a recent sale of the property, a developer painted the mural over with gray paint. Velasquez is now suing.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34242_dEBsesIhcbhuqUG-800x450-noPad-qut.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34242_dEBsesIhcbhuqUG-800x450-noPad-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34242_dEBsesIhcbhuqUG-800x450-noPad-qut-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of “Mural de la Raza’ by Jose Meza Velasquez, Frank Torres and a local youth group. At the time, the building was a Payless Shoes store. Ahead of a recent sale of the property, a developer painted the mural over with gray paint. Velasquez is now suing. \u003ccite>(Photo: Courtesy of Jose Manuel Valle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Murals are delicate artworks, vulnerable to oblivious landlords, paint-bleaching sunshine and teenage taggers. So grab your camera and start photographing community treasures like \u003ci>La Medicina y La Comunidad\u003c/i>, by Gustavo Bernal, on the front of the \u003ca href=\"https://gardnerfamilyhealth.org\" target=\"_blank\" rel=\"noopener\">Gardner Health Center\u003c/a> on East Virginia Street.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Health care providers are depicted alongside Aztec and Roman Catholic icons, making doctors look like the modern-day heroes they are. \u003ci>La Medicina \u003c/i>no doubt benefits from its position above street level. (It was also retouched in 2009 by San Jose artist \u003ca href=\"http://www.pauljgonzalezartstudios.com\" target=\"_blank\" rel=\"noopener\">Paul J. Gonzalez\u003c/a>.) Valle notes that Bernal also painted a mural on the side of Miller Elementary that’s no longer there.\u003c/p>\n\u003cp>Juan Carlos Araujo was a kid growing up in San Jose when he visited this health center with his mother. Back then, he didn’t know much about the artwork he passed by, but something must have stuck.\u003c/p>\n\u003cfigure id=\"attachment_13845896\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845896\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RS34244_Photo-Nov-26-10-52-23-AM-qut-800x450.jpg\" alt='\"La Medicina y La Comunidad Mural\" (1990) by Gustavo Bernal, on the Gardner Health Center off of 5th and East Virginia in San Jose.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34244_Photo-Nov-26-10-52-23-AM-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34244_Photo-Nov-26-10-52-23-AM-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34244_Photo-Nov-26-10-52-23-AM-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34244_Photo-Nov-26-10-52-23-AM-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34244_Photo-Nov-26-10-52-23-AM-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34244_Photo-Nov-26-10-52-23-AM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34244_Photo-Nov-26-10-52-23-AM-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34244_Photo-Nov-26-10-52-23-AM-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34244_Photo-Nov-26-10-52-23-AM-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34244_Photo-Nov-26-10-52-23-AM-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34244_Photo-Nov-26-10-52-23-AM-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘La Medicina y La Comunidad Mural’ (1990) by Gustavo Bernal, on the Gardner Health Center off of 5th and East Virginia in San Jose. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Today, the 36 year-old runs \u003ca href=\"https://www.empiresevenstudios.com/about-e7s-empiresevenstudios-japantown-sanjose/\" target=\"_blank\" rel=\"noopener\">Empire Seven Studios\u003c/a> along with Jennifer Ahn, helping to put up new murals by modern artists reflecting San Jose’s past, present and future.\u003c/p>\n\u003cp>“Like life itself, [murals don’t] last forever. What is important is to leave some knowledge, some history behind. You know, it’s generational,” Araujo says.\u003c/p>\n\u003cp>Next on the tour is \u003ca href=\"https://www.olgparishsj.org/index.html\" target=\"_blank\" rel=\"noopener\">Our Lady of Guadalupe Church\u003c/a> in East San Jose. Cesar Chavez attended services here, and started organizing farmworkers. McDonnell Hall, in the back of the church, is now a National Historic Landmark.\u003c/p>\n\u003cp>Technically, the church’s art isn’t a mural but a mosaic, a triptych traveling through time from the Aztecs to the 1960s. There are lots of clever touches: a toothy Quetzalcoatl on the bottom left corner, the two contrasting suns in the top corners, the labor union signs on the bottom right.\u003c/p>\n\u003cp>Katherine Oppenheimer of Sunnyvale originally created the mosaic in 1967, along with two fellow artist friends, for a planned Chicano community center that never came to be. Oppenheimer passed on about five years ago, but her son David Oppenheimer says she was “deeply inspired by the civil rights movement,” and meant the mosaic to celebrate how that movement freed so many people from colonial (and also religious) oppression.\u003c/p>\n\u003cfigure id=\"attachment_13845897\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845897\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RS34246_Photo-Nov-26-11-16-23-AM-qut-800x600.jpg\" alt=\""Nuestra Senora de Guadalupe" by Katherine M. Oppenheimer, Marie G. Hutton, and Lois C. Cronemiller. The mosaic is visible from the street but you'll want to walk on to the campus of Our Lady of Guadalupe Church in San Jose to get a closer look.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34246_Photo-Nov-26-11-16-23-AM-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34246_Photo-Nov-26-11-16-23-AM-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34246_Photo-Nov-26-11-16-23-AM-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34246_Photo-Nov-26-11-16-23-AM-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34246_Photo-Nov-26-11-16-23-AM-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34246_Photo-Nov-26-11-16-23-AM-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Nuestra Senora de Guadalupe’ by Katherine Oppenheimer, Marie Hutton, and Lois Cronemiller. The mosaic is visible from the street, but you’ll want to walk on to the campus of Our Lady of Guadalupe Church in San Jose to get a closer look. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He points out that we see a man bowing down in the left, a couple on their knees in the middle, and marchers “for the first time, standing on their feet” on the right. Ironically, a church became the caretaker for the piece after the community center fell through.\u003c/p>\n\u003cp>“It’s tradition. It’s heritage. It’s really our teachings, outside of English textbooks,” Araujo says, adding this mosaic is blessed to be on this church campus, because that means it’s not under the kind of threat those on commercial properties face. Take the mural that used to grace the Cal Foods store in the Five Wounds neighborhood: after gang members defaced large parts of it with graffiti, the property owner painted over those sections.\u003c/p>\n\u003cp>Araujo used to come to Cal Foods for the cheese burritos. “I’ve known the property owner for some time. She’s been here for over 25 years. At some point, she’s going to retire. Who am I to tell her ‘no’? So this will be another mural that will be gone.”\u003c/p>\n\u003cp>Murals are often intended to beautify the streets and alleys they’re chosen for. They may not erase the sight of homeless encampments, or empty parking lots, or other signs of urban decay. But their splashes of color and intricate storytelling brightens the neighborhood, shouting out to pedestrians passing by to stop, look and learn.\u003c/p>\n\u003cfigure id=\"attachment_13845898\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845898\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RS34247_Photo-Nov-26-11-39-35-AM-qut-800x1068.jpg\" alt=\"What's left of a larger mural that included the Virgen de Guadalupe by an unknown artist on the wall of Cal Foods Tienda y Carniceria in the Five Wounds neighborhood of San Jose.\" width=\"800\" height=\"1068\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34247_Photo-Nov-26-11-39-35-AM-qut-800x1068.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34247_Photo-Nov-26-11-39-35-AM-qut-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34247_Photo-Nov-26-11-39-35-AM-qut-768x1025.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34247_Photo-Nov-26-11-39-35-AM-qut-1020x1362.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34247_Photo-Nov-26-11-39-35-AM-qut-899x1200.jpg 899w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34247_Photo-Nov-26-11-39-35-AM-qut.jpg 1534w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Part of what’s left of a larger mural that included the Virgen de Guadalupe, by an unknown artist on the wall of Cal Foods Tienda y Carniceria in the Five Wounds neighborhood of San Jose. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While much of the iconography in Chicano murals is familiar to anyone who grew up in California, there are personal touches from the artists, who often work as a team, sometimes including young people on court order to do community service.\u003c/p>\n\u003cp>Those kids might not be up on Spanish colonialism, or the Valley of Heart’s Delight, or the early days of Silicon Valley, but murals like the one Opski Chan painted on an old IBM building near Roosevelt Park in San Jose give a nod to all of that history.\u003c/p>\n\u003cp>Chan pulled some of his imagery and fonts from the packing boxes of the fruit orchards that once filled the Santa Clara Valley. “It’s a lot like graffiti, but used in a different way,” says Araujo, who grew up doing graffiti himself before he turned to art.\u003c/p>\n\u003cfigure id=\"attachment_13845901\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845901\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RS34243_IMG_9003-800x379.jpg\" alt=\"Mural by Opski Chan on the wall of what used to be an IBM building near the corner of St. John and 16th in San Jose.\" width=\"800\" height=\"379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34243_IMG_9003-800x379.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34243_IMG_9003-160x76.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34243_IMG_9003-768x363.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34243_IMG_9003-1020x483.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34243_IMG_9003-960x454.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34243_IMG_9003-240x114.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34243_IMG_9003-375x177.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34243_IMG_9003-520x246.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34243_IMG_9003.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Opski Chan on the wall of what used to be an IBM building near the corner of St. John and 16th in San Jose. \u003ccite>(Photo: Courtesy of Empire Seven Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That sensibility is evident in many of the murals Empire Seven collaborates on.\u003c/p>\n\u003cp>\u003cem>Here & There\u003c/em> by Sam Rodriguez, in San Jose’s Japantown, mashes together bits from multiple visual languages. A lotus flower floats in the same scene with Mexican bread and images from the video game Pac-Man.\u003c/p>\n\u003cp>This is San Jose’s culture, Araujo says. It’s where Rodriguez comes from. It’s where we come from.\u003c/p>\n\u003cp>“We’ve lost a lot of murals,” Araujo says, but new murals are going up, too. “It’s hard to erase people’s culture. Our culture is rooted deep here.”\u003c/p>\n\u003cfigure id=\"attachment_13845942\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845942\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RS34249_Photo-Nov-26-12-35-21-PM-qut-800x450.jpg\" alt=\"Detail of "Here & There" by Sam Rodriguez in San Jose's Japantown. The more you look, the more you see, like the letters "S" and "J" in Olde English font on either side of his daughter's face. You know: SJ, for San Jose.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34249_Photo-Nov-26-12-35-21-PM-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34249_Photo-Nov-26-12-35-21-PM-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34249_Photo-Nov-26-12-35-21-PM-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34249_Photo-Nov-26-12-35-21-PM-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34249_Photo-Nov-26-12-35-21-PM-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34249_Photo-Nov-26-12-35-21-PM-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of ‘Here & There’ by Sam Rodriguez in San Jose’s Japantown. Note the letters “S” and “J” in Olde English font on either side of his daughter’s face, for San Jose. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Want to go on your own Chicano mural walking tour in San Jose? In collaboration with Empire Seven, software engineer \u003ca href=\"https://www.yanyinchoy.com\" target=\"_blank\" rel=\"noopener\">Yan-Yin Choy\u003c/a> of \u003ca href=\"https://www.codeforsanjose.com\" target=\"_blank\" rel=\"noopener\">Code for San Jose\u003c/a> developed \u003ca href=\"http://www.codeforsanjose.com/heartofthevalley\" target=\"_blank\" rel=\"noopener\">\u003cem>Heart of the Valley\u003c/em>\u003c/a>, an open-source map of murals and other public art in the South Bay. \u003ca href=\"http://www.codeforsanjose.com/heartofthevalley\" target=\"_blank\" rel=\"noopener\">Check it out here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A few weeks ago, news broke about Bay Area artist Jose Meza Velasquez \u003ca href=\"https://www.mercurynews.com/2018/11/05/mysterious-removal-of-historic-san-jose-mural-sparks-5-million-lawsuit/\" target=\"_blank\" rel=\"noopener\">filing a $5 million lawsuit\u003c/a> after a real estate developer painted over his historic \u003cem>Mural de la Raza\u003c/em> in San Jose.\u003c/p>\n\u003cp>But by and large, Chicano mural art is still thriving in the South Bay—and worth a sightseeing tour on your preferred set of wheels.\u003c/p>\n\u003cp>\u003cem>Mural de la Raza\u003c/em> was not the only mural to pay homage to Chicano culture, but it was up for more than 30 years; one of a shrinking number of murals to last that long. Murals, and especially Chicano murals, function as a form of visual history for the neighborhoods in which they sit. That helps to explain the outrage when Velasquez’s work disappeared under a coat of gray paint.\u003c/p>\n\u003cp>I asked a few people in the know where to spot some of San Jose’s most impressive older murals. Jose Manuel Valle of \u003ca href=\"https://www.siliconvalleydebug.org\" target=\"_blank\" rel=\"noopener\">Silicon Valley De-Bug\u003c/a> was more than happy to oblige with a list. He’s a key figure behind El Emergency Comité for the Preservation of Chicano Arts, which sponsored an \u003ca href=\"https://www.change.org/p/restore-mural-de-la-raza-in-san-jose\" target=\"_blank\" rel=\"noopener\">online petition in support of Velasquez\u003c/a> that’s garnered more than 2,900 signatures.\u003c/p>\n\u003cp>“Right now, the most important thing is to build public interest,” Valle says.\u003c/p>\n\u003cfigure id=\"attachment_13845893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845893\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RS34242_dEBsesIhcbhuqUG-800x450-noPad-qut-800x450.jpg\" alt=\"Detail of "Mural de la Raza' by Jose Meza Velasquez, Frank Torres and a local youth group. At the time, the building was a Payless Shoes store. Ahead of a recent sale of the property, a developer painted the mural over with gray paint. Velasquez is now suing.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34242_dEBsesIhcbhuqUG-800x450-noPad-qut.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34242_dEBsesIhcbhuqUG-800x450-noPad-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34242_dEBsesIhcbhuqUG-800x450-noPad-qut-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of “Mural de la Raza’ by Jose Meza Velasquez, Frank Torres and a local youth group. At the time, the building was a Payless Shoes store. Ahead of a recent sale of the property, a developer painted the mural over with gray paint. Velasquez is now suing. \u003ccite>(Photo: Courtesy of Jose Manuel Valle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Murals are delicate artworks, vulnerable to oblivious landlords, paint-bleaching sunshine and teenage taggers. So grab your camera and start photographing community treasures like \u003ci>La Medicina y La Comunidad\u003c/i>, by Gustavo Bernal, on the front of the \u003ca href=\"https://gardnerfamilyhealth.org\" target=\"_blank\" rel=\"noopener\">Gardner Health Center\u003c/a> on East Virginia Street.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Health care providers are depicted alongside Aztec and Roman Catholic icons, making doctors look like the modern-day heroes they are. \u003ci>La Medicina \u003c/i>no doubt benefits from its position above street level. (It was also retouched in 2009 by San Jose artist \u003ca href=\"http://www.pauljgonzalezartstudios.com\" target=\"_blank\" rel=\"noopener\">Paul J. Gonzalez\u003c/a>.) Valle notes that Bernal also painted a mural on the side of Miller Elementary that’s no longer there.\u003c/p>\n\u003cp>Juan Carlos Araujo was a kid growing up in San Jose when he visited this health center with his mother. Back then, he didn’t know much about the artwork he passed by, but something must have stuck.\u003c/p>\n\u003cfigure id=\"attachment_13845896\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845896\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RS34244_Photo-Nov-26-10-52-23-AM-qut-800x450.jpg\" alt='\"La Medicina y La Comunidad Mural\" (1990) by Gustavo Bernal, on the Gardner Health Center off of 5th and East Virginia in San Jose.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34244_Photo-Nov-26-10-52-23-AM-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34244_Photo-Nov-26-10-52-23-AM-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34244_Photo-Nov-26-10-52-23-AM-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34244_Photo-Nov-26-10-52-23-AM-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34244_Photo-Nov-26-10-52-23-AM-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34244_Photo-Nov-26-10-52-23-AM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34244_Photo-Nov-26-10-52-23-AM-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34244_Photo-Nov-26-10-52-23-AM-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34244_Photo-Nov-26-10-52-23-AM-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34244_Photo-Nov-26-10-52-23-AM-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34244_Photo-Nov-26-10-52-23-AM-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘La Medicina y La Comunidad Mural’ (1990) by Gustavo Bernal, on the Gardner Health Center off of 5th and East Virginia in San Jose. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Today, the 36 year-old runs \u003ca href=\"https://www.empiresevenstudios.com/about-e7s-empiresevenstudios-japantown-sanjose/\" target=\"_blank\" rel=\"noopener\">Empire Seven Studios\u003c/a> along with Jennifer Ahn, helping to put up new murals by modern artists reflecting San Jose’s past, present and future.\u003c/p>\n\u003cp>“Like life itself, [murals don’t] last forever. What is important is to leave some knowledge, some history behind. You know, it’s generational,” Araujo says.\u003c/p>\n\u003cp>Next on the tour is \u003ca href=\"https://www.olgparishsj.org/index.html\" target=\"_blank\" rel=\"noopener\">Our Lady of Guadalupe Church\u003c/a> in East San Jose. Cesar Chavez attended services here, and started organizing farmworkers. McDonnell Hall, in the back of the church, is now a National Historic Landmark.\u003c/p>\n\u003cp>Technically, the church’s art isn’t a mural but a mosaic, a triptych traveling through time from the Aztecs to the 1960s. There are lots of clever touches: a toothy Quetzalcoatl on the bottom left corner, the two contrasting suns in the top corners, the labor union signs on the bottom right.\u003c/p>\n\u003cp>Katherine Oppenheimer of Sunnyvale originally created the mosaic in 1967, along with two fellow artist friends, for a planned Chicano community center that never came to be. Oppenheimer passed on about five years ago, but her son David Oppenheimer says she was “deeply inspired by the civil rights movement,” and meant the mosaic to celebrate how that movement freed so many people from colonial (and also religious) oppression.\u003c/p>\n\u003cfigure id=\"attachment_13845897\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845897\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RS34246_Photo-Nov-26-11-16-23-AM-qut-800x600.jpg\" alt=\""Nuestra Senora de Guadalupe" by Katherine M. Oppenheimer, Marie G. Hutton, and Lois C. Cronemiller. The mosaic is visible from the street but you'll want to walk on to the campus of Our Lady of Guadalupe Church in San Jose to get a closer look.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34246_Photo-Nov-26-11-16-23-AM-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34246_Photo-Nov-26-11-16-23-AM-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34246_Photo-Nov-26-11-16-23-AM-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34246_Photo-Nov-26-11-16-23-AM-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34246_Photo-Nov-26-11-16-23-AM-qut-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34246_Photo-Nov-26-11-16-23-AM-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Nuestra Senora de Guadalupe’ by Katherine Oppenheimer, Marie Hutton, and Lois Cronemiller. The mosaic is visible from the street, but you’ll want to walk on to the campus of Our Lady of Guadalupe Church in San Jose to get a closer look. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He points out that we see a man bowing down in the left, a couple on their knees in the middle, and marchers “for the first time, standing on their feet” on the right. Ironically, a church became the caretaker for the piece after the community center fell through.\u003c/p>\n\u003cp>“It’s tradition. It’s heritage. It’s really our teachings, outside of English textbooks,” Araujo says, adding this mosaic is blessed to be on this church campus, because that means it’s not under the kind of threat those on commercial properties face. Take the mural that used to grace the Cal Foods store in the Five Wounds neighborhood: after gang members defaced large parts of it with graffiti, the property owner painted over those sections.\u003c/p>\n\u003cp>Araujo used to come to Cal Foods for the cheese burritos. “I’ve known the property owner for some time. She’s been here for over 25 years. At some point, she’s going to retire. Who am I to tell her ‘no’? So this will be another mural that will be gone.”\u003c/p>\n\u003cp>Murals are often intended to beautify the streets and alleys they’re chosen for. They may not erase the sight of homeless encampments, or empty parking lots, or other signs of urban decay. But their splashes of color and intricate storytelling brightens the neighborhood, shouting out to pedestrians passing by to stop, look and learn.\u003c/p>\n\u003cfigure id=\"attachment_13845898\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845898\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RS34247_Photo-Nov-26-11-39-35-AM-qut-800x1068.jpg\" alt=\"What's left of a larger mural that included the Virgen de Guadalupe by an unknown artist on the wall of Cal Foods Tienda y Carniceria in the Five Wounds neighborhood of San Jose.\" width=\"800\" height=\"1068\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34247_Photo-Nov-26-11-39-35-AM-qut-800x1068.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34247_Photo-Nov-26-11-39-35-AM-qut-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34247_Photo-Nov-26-11-39-35-AM-qut-768x1025.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34247_Photo-Nov-26-11-39-35-AM-qut-1020x1362.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34247_Photo-Nov-26-11-39-35-AM-qut-899x1200.jpg 899w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34247_Photo-Nov-26-11-39-35-AM-qut.jpg 1534w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Part of what’s left of a larger mural that included the Virgen de Guadalupe, by an unknown artist on the wall of Cal Foods Tienda y Carniceria in the Five Wounds neighborhood of San Jose. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While much of the iconography in Chicano murals is familiar to anyone who grew up in California, there are personal touches from the artists, who often work as a team, sometimes including young people on court order to do community service.\u003c/p>\n\u003cp>Those kids might not be up on Spanish colonialism, or the Valley of Heart’s Delight, or the early days of Silicon Valley, but murals like the one Opski Chan painted on an old IBM building near Roosevelt Park in San Jose give a nod to all of that history.\u003c/p>\n\u003cp>Chan pulled some of his imagery and fonts from the packing boxes of the fruit orchards that once filled the Santa Clara Valley. “It’s a lot like graffiti, but used in a different way,” says Araujo, who grew up doing graffiti himself before he turned to art.\u003c/p>\n\u003cfigure id=\"attachment_13845901\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845901\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RS34243_IMG_9003-800x379.jpg\" alt=\"Mural by Opski Chan on the wall of what used to be an IBM building near the corner of St. John and 16th in San Jose.\" width=\"800\" height=\"379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34243_IMG_9003-800x379.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34243_IMG_9003-160x76.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34243_IMG_9003-768x363.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34243_IMG_9003-1020x483.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34243_IMG_9003-960x454.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34243_IMG_9003-240x114.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34243_IMG_9003-375x177.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34243_IMG_9003-520x246.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34243_IMG_9003.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mural by Opski Chan on the wall of what used to be an IBM building near the corner of St. John and 16th in San Jose. \u003ccite>(Photo: Courtesy of Empire Seven Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That sensibility is evident in many of the murals Empire Seven collaborates on.\u003c/p>\n\u003cp>\u003cem>Here & There\u003c/em> by Sam Rodriguez, in San Jose’s Japantown, mashes together bits from multiple visual languages. A lotus flower floats in the same scene with Mexican bread and images from the video game Pac-Man.\u003c/p>\n\u003cp>This is San Jose’s culture, Araujo says. It’s where Rodriguez comes from. It’s where we come from.\u003c/p>\n\u003cp>“We’ve lost a lot of murals,” Araujo says, but new murals are going up, too. “It’s hard to erase people’s culture. Our culture is rooted deep here.”\u003c/p>\n\u003cfigure id=\"attachment_13845942\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845942\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RS34249_Photo-Nov-26-12-35-21-PM-qut-800x450.jpg\" alt=\"Detail of "Here & There" by Sam Rodriguez in San Jose's Japantown. The more you look, the more you see, like the letters "S" and "J" in Olde English font on either side of his daughter's face. You know: SJ, for San Jose.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34249_Photo-Nov-26-12-35-21-PM-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34249_Photo-Nov-26-12-35-21-PM-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34249_Photo-Nov-26-12-35-21-PM-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34249_Photo-Nov-26-12-35-21-PM-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34249_Photo-Nov-26-12-35-21-PM-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS34249_Photo-Nov-26-12-35-21-PM-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of ‘Here & There’ by Sam Rodriguez in San Jose’s Japantown. Note the letters “S” and “J” in Olde English font on either side of his daughter’s face, for San Jose. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Want to go on your own Chicano mural walking tour in San Jose? In collaboration with Empire Seven, software engineer \u003ca href=\"https://www.yanyinchoy.com\" target=\"_blank\" rel=\"noopener\">Yan-Yin Choy\u003c/a> of \u003ca href=\"https://www.codeforsanjose.com\" target=\"_blank\" rel=\"noopener\">Code for San Jose\u003c/a> developed \u003ca href=\"http://www.codeforsanjose.com/heartofthevalley\" target=\"_blank\" rel=\"noopener\">\u003cem>Heart of the Valley\u003c/em>\u003c/a>, an open-source map of murals and other public art in the South Bay. \u003ca href=\"http://www.codeforsanjose.com/heartofthevalley\" target=\"_blank\" rel=\"noopener\">Check it out here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The \u003ca href=\"https://ocweekly.com\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>OC Weekly\u003c/i>\u003c/a> column \u003ca href=\"https://www.amazon.com/Ask-Mexican-Gustavo-Arellano/dp/1416540032\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ask a Mexican\u003c/em>\u003c/a> started out as a joke in 2004, but within a couple of years, \u003ca href=\"https://tinyletter.com/gustavoarellanosweekly\" target=\"_blank\" rel=\"noopener noreferrer\">Gustavo Arellano\u003c/a> became a nationally syndicated spokesman for Orange County: the good, the bad and the very, very racist. This weekend, you can see his sense of humor interpreted for the stage in San Jose with \u003cem>\u003ca href=\"https://www.eventbrite.com/e/interview-with-a-mexican-tickets-50795561893\" target=\"_blank\" rel=\"noopener noreferrer\">¡Interview with a Mexican!\u003c/a>\u003c/em> at Movimiento de Arte y Cultura Latino Americana, or \u003ca href=\"https://maclaarte.org\" target=\"_blank\" rel=\"noopener noreferrer\">MACLA\u003c/a> for short.\u003c/p>\n\u003cp>The 39 year-old Mexican-American born and raised in Anaheim has covered many topics over the course of his journalistic career: “Tacos, pedophile priests, Mexicans and neo-Nazis. Hey, it’s a living right?” Love his pointed sense of humor or hate it, you’d be hard-pressed to find anyone else who does such a wickedly funny job documenting Orange County’s historically uber-right politics, and politically incorrect attitudes.\u003c/p>\n\u003cp>In \u003cem>Ask a Mexican\u003c/em>, which ended in 2017, Arellano blended a genuine desire to educate with a sarcastic edge that makes the lesson amusing to readers — whether they know the answer already or find themselves quietly taking notes. Here is but one example:\u003c/p>\n\u003cblockquote>\n\u003cp id=\"p_1_1\" class=\"container\">\u003cstrong>Dear Mexican: Believe I’ve heard from you, in an interview, that “gringo” is either out-of-date or inappropriate and that \u003cem>gabacho\u003c/em> is the better choice. I’ve checked online and most sources say that \u003cem>gabacho\u003c/em> is a pejorative and/or generally refers to Europeans. Is this the case, or is \u003cem>gabacho\u003c/em> just a better word than “gringo”? Also, as a native SoCal cracker, is it acceptable for me to use \u003cem>gabacho\u003c/em> or to refer to myself as such? What is the proper etiquette and usage so I don’t offend anyone or embarrass myself? I’ve also asked friends, but the vote seems to be split. \u003c/strong>\u003c/p>\n\u003cp id=\"p_1_2\" class=\"container\">\u003cstrong>Gringo-Gabacho Greg\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp id=\"p_1_3\" class=\"container\">Dear Gabacho: As I’ve explained in this \u003cem>columna\u003c/em> before, \u003cem>gabacho\u003c/em> and gringo are synonyms for the same thing—\u003cem>gabachos\u003c/em>, with the key differences being certainty in their respective etymology (\u003cem>gabacho\u003c/em> comes from Provencal, while no one has ever put forth a definite origin story for “gringo”), and the important fact that \u003cem>gabachos\u003c/em> long ago appropriated “gringo” into a harmless term that has absolutely no sting, while \u003cem>gabacho\u003c/em> maintains its sting. And now you want to proudly refer to yourself as a \u003cem>gabacho\u003c/em>, \u003cem>gabacho\u003c/em>? No. Content yourself with the theft of half of Mexico back in the day, and leave our treasures alone once and for all.\u003c/p>\n\u003c/blockquote>\n\u003cfigure id=\"attachment_13844650\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844650\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-800x450.jpg\" alt=\"The Mexican “Goldhat,” played by actor Lorenzo Gonzalez, plays off of Gustavo Arellano's stereotype-busting column, "Ask a Mexican."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Mexican “Goldhat,” played by actor Lorenzo Gonzalez, plays off of Gustavo Arellano’s stereotype-busting column, “Ask a Mexican.” \u003ccite>(Photo: Courtesy of Steven Abeyta)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp class=\"css-1xl4flh e2kc3sl0\">You can see why Arellano has taken heat from readers on the political left as well as right. He takes pride in the criticism, calling himself a Jeremiah, the Old Testament prophet whose complaints about the Jews were not greeted with enthusiasm or warmth by the Chosen People. “I say how it is, whether people like it or not. Most of the time, people don’t like it, but that’s OK,” Arellano says.\u003c/p>\n\u003cp>Arellano \u003ca class=\"css-1g7m0tk\" title=\"\" href=\"https://www.ocregister.com/2017/10/13/gustavo-arellano-editor-in-chief-of-oc-weekly-says-he-quit-instead-of-laying-off-staffers/\" target=\"_blank\" rel=\"noopener noreferrer\">resigned\u003c/a> as editor in chief of the \u003cem>OC Weekly\u003c/em> in 2017, rather than capitulate to a demand by the publication’s owners to lay off most of his staff. Soon after, he began writing a weekly column for the opinion section of \u003cem>\u003ca href=\"http://www.latimes.com/opinion/op-ed/la-oe-arellano-california-20170103-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">The Los Angeles Times\u003c/a>,\u003c/em> and he delivers regular commentary in a series called\u003cem> \u003ca href=\"https://www.kcrw.com/people/gustavo-arellano\" target=\"_blank\" rel=\"noopener noreferrer\">Orange County Line\u003c/a>\u003c/em> for the Santa Monica public radio station KCRW. But the copyright for the \u003cem>Ask A Mexican\u003c/em> column remains the property of the \u003cem>OC Weekly\u003c/em>, even if it has no value without Arellano’s trademark wit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I would have never imagined that the column would even run that long,” he says. “There was a proposed television show. That flamed out. \u003cem>Ask a Mexican: The Movie.\u003c/em> Yeah, that wasn’t going to happen.”\u003c/p>\n\u003cp>There was even a play, but that died after one reading. But Arellano knew playwright Anthony Garcia, executive artistic director of the Denver theatre company\u003ca href=\"http://suteatro.org\" target=\"_blank\" rel=\"noopener noreferrer\"> Su Teatro\u003c/a>. So when Garcia pitched his concept for another play, “I trusted him,” Arellano says. “And he came up with a great piece of theatre.”\u003c/p>\n\u003cfigure id=\"attachment_13844651\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844651\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-800x450.jpg\" alt=\"Ramon (Miguel Martimen) and Andrea (Paola Miranda) eat tamales in ¡Interview with a Mexican! at Movimiento de Arte y Cultura Latino Americana in San Jose.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ramon (Miguel Martimen) and Andrea (Paola Miranda) eat tamales in ¡Interview with a Mexican! at Movimiento de Arte y Cultura Latino Americana in San Jose. \u003ccite>(Photo: Courtesy of Steven Abeyta)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2 class=\"css-1xl4flh e2kc3sl0\">So how does this become a play?\u003c/h2>\n\u003cp>To make it work for the stage, Garcia married bits from Arellano’s columns and books with music, dance, and back-and-forth with the audience. “The whole piece really is about asking questions. We say, “Ask, so you don’t look like a \u003ci>pendejo\u003c/i>.” I.e. stupid. “You can get educated and insulted at the same time.”\u003c/p>\n\u003cp>In the last year since the first staged reading at MACLA, \u003cem>¡Interview with a Mexican!\u003c/em> played in Denver and Albuquerque before returning to the Bay Area.\u003c/p>\n\u003cp>Garcia says he’s been surprised at how warmly audiences accept the edgy humor. “There is a conversation about how we can’t talk about race anymore without understanding everybody’s personal vibe. Clearly, I know enough to know when to keep my mouth shut, but on stage, I don’t think we have those same restrictions.”\u003c/p>\n\u003cp>Garcia has led Su Teatro for half a century, and says Arellano’s humor plays well in Denver. “There are Chicanos who’ve been there for a very long time. There’s recent immigrants. There’s second and third-generation Mexican-Americans kids who call themselves Mexicanos but don’t know shit about the Virgen de Guadalupe. And these are my students!” says Garcia, who’s also an adjunct professor at Metro State College in Denver.\u003c/p>\n\u003cp>Garcia adds he hopes this play can serve as a tool to help younger generations understand more about themselves in a palatable fashion. “We love to laugh at ourselves.”\u003c/p>\n\u003cp>Is there one question Arellano gets all the time: “If you hate Orange County so much, why do you live here?”\u003c/p>\n\u003cp>His answer: “You can only truly love Orange County if you despise it. Cause there’s a lot of horrible things with Orange County, but those things are slowly going away.”\u003c/p>\n\u003cp>Does that make Gustavo Arellano an optimist or a pessimist? Well, he’s still living there.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>\u003ca href=\"https://www.eventbrite.com/e/interview-with-a-mexican-tickets-50795561893\" target=\"_blank\" rel=\"noopener noreferrer\">¡Interview with a Mexican!\u003c/a> \u003c/strong>runs through November 11, 2018 at Movimiento de Arte y Cultura Latino Americana in San Jose. For more information, click \u003cstrong>\u003ca href=\"https://maclaarte.org\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://ocweekly.com\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>OC Weekly\u003c/i>\u003c/a> column \u003ca href=\"https://www.amazon.com/Ask-Mexican-Gustavo-Arellano/dp/1416540032\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ask a Mexican\u003c/em>\u003c/a> started out as a joke in 2004, but within a couple of years, \u003ca href=\"https://tinyletter.com/gustavoarellanosweekly\" target=\"_blank\" rel=\"noopener noreferrer\">Gustavo Arellano\u003c/a> became a nationally syndicated spokesman for Orange County: the good, the bad and the very, very racist. This weekend, you can see his sense of humor interpreted for the stage in San Jose with \u003cem>\u003ca href=\"https://www.eventbrite.com/e/interview-with-a-mexican-tickets-50795561893\" target=\"_blank\" rel=\"noopener noreferrer\">¡Interview with a Mexican!\u003c/a>\u003c/em> at Movimiento de Arte y Cultura Latino Americana, or \u003ca href=\"https://maclaarte.org\" target=\"_blank\" rel=\"noopener noreferrer\">MACLA\u003c/a> for short.\u003c/p>\n\u003cp>The 39 year-old Mexican-American born and raised in Anaheim has covered many topics over the course of his journalistic career: “Tacos, pedophile priests, Mexicans and neo-Nazis. Hey, it’s a living right?” Love his pointed sense of humor or hate it, you’d be hard-pressed to find anyone else who does such a wickedly funny job documenting Orange County’s historically uber-right politics, and politically incorrect attitudes.\u003c/p>\n\u003cp>In \u003cem>Ask a Mexican\u003c/em>, which ended in 2017, Arellano blended a genuine desire to educate with a sarcastic edge that makes the lesson amusing to readers — whether they know the answer already or find themselves quietly taking notes. Here is but one example:\u003c/p>\n\u003cblockquote>\n\u003cp id=\"p_1_1\" class=\"container\">\u003cstrong>Dear Mexican: Believe I’ve heard from you, in an interview, that “gringo” is either out-of-date or inappropriate and that \u003cem>gabacho\u003c/em> is the better choice. I’ve checked online and most sources say that \u003cem>gabacho\u003c/em> is a pejorative and/or generally refers to Europeans. Is this the case, or is \u003cem>gabacho\u003c/em> just a better word than “gringo”? Also, as a native SoCal cracker, is it acceptable for me to use \u003cem>gabacho\u003c/em> or to refer to myself as such? What is the proper etiquette and usage so I don’t offend anyone or embarrass myself? I’ve also asked friends, but the vote seems to be split. \u003c/strong>\u003c/p>\n\u003cp id=\"p_1_2\" class=\"container\">\u003cstrong>Gringo-Gabacho Greg\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp id=\"p_1_3\" class=\"container\">Dear Gabacho: As I’ve explained in this \u003cem>columna\u003c/em> before, \u003cem>gabacho\u003c/em> and gringo are synonyms for the same thing—\u003cem>gabachos\u003c/em>, with the key differences being certainty in their respective etymology (\u003cem>gabacho\u003c/em> comes from Provencal, while no one has ever put forth a definite origin story for “gringo”), and the important fact that \u003cem>gabachos\u003c/em> long ago appropriated “gringo” into a harmless term that has absolutely no sting, while \u003cem>gabacho\u003c/em> maintains its sting. And now you want to proudly refer to yourself as a \u003cem>gabacho\u003c/em>, \u003cem>gabacho\u003c/em>? No. Content yourself with the theft of half of Mexico back in the day, and leave our treasures alone once and for all.\u003c/p>\n\u003c/blockquote>\n\u003cfigure id=\"attachment_13844650\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844650\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-800x450.jpg\" alt=\"The Mexican “Goldhat,” played by actor Lorenzo Gonzalez, plays off of Gustavo Arellano's stereotype-busting column, "Ask a Mexican."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Mexican “Goldhat,” played by actor Lorenzo Gonzalez, plays off of Gustavo Arellano’s stereotype-busting column, “Ask a Mexican.” \u003ccite>(Photo: Courtesy of Steven Abeyta)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp class=\"css-1xl4flh e2kc3sl0\">You can see why Arellano has taken heat from readers on the political left as well as right. He takes pride in the criticism, calling himself a Jeremiah, the Old Testament prophet whose complaints about the Jews were not greeted with enthusiasm or warmth by the Chosen People. “I say how it is, whether people like it or not. Most of the time, people don’t like it, but that’s OK,” Arellano says.\u003c/p>\n\u003cp>Arellano \u003ca class=\"css-1g7m0tk\" title=\"\" href=\"https://www.ocregister.com/2017/10/13/gustavo-arellano-editor-in-chief-of-oc-weekly-says-he-quit-instead-of-laying-off-staffers/\" target=\"_blank\" rel=\"noopener noreferrer\">resigned\u003c/a> as editor in chief of the \u003cem>OC Weekly\u003c/em> in 2017, rather than capitulate to a demand by the publication’s owners to lay off most of his staff. Soon after, he began writing a weekly column for the opinion section of \u003cem>\u003ca href=\"http://www.latimes.com/opinion/op-ed/la-oe-arellano-california-20170103-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">The Los Angeles Times\u003c/a>,\u003c/em> and he delivers regular commentary in a series called\u003cem> \u003ca href=\"https://www.kcrw.com/people/gustavo-arellano\" target=\"_blank\" rel=\"noopener noreferrer\">Orange County Line\u003c/a>\u003c/em> for the Santa Monica public radio station KCRW. But the copyright for the \u003cem>Ask A Mexican\u003c/em> column remains the property of the \u003cem>OC Weekly\u003c/em>, even if it has no value without Arellano’s trademark wit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I would have never imagined that the column would even run that long,” he says. “There was a proposed television show. That flamed out. \u003cem>Ask a Mexican: The Movie.\u003c/em> Yeah, that wasn’t going to happen.”\u003c/p>\n\u003cp>There was even a play, but that died after one reading. But Arellano knew playwright Anthony Garcia, executive artistic director of the Denver theatre company\u003ca href=\"http://suteatro.org\" target=\"_blank\" rel=\"noopener noreferrer\"> Su Teatro\u003c/a>. So when Garcia pitched his concept for another play, “I trusted him,” Arellano says. “And he came up with a great piece of theatre.”\u003c/p>\n\u003cfigure id=\"attachment_13844651\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844651\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-800x450.jpg\" alt=\"Ramon (Miguel Martimen) and Andrea (Paola Miranda) eat tamales in ¡Interview with a Mexican! at Movimiento de Arte y Cultura Latino Americana in San Jose.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ramon (Miguel Martimen) and Andrea (Paola Miranda) eat tamales in ¡Interview with a Mexican! at Movimiento de Arte y Cultura Latino Americana in San Jose. \u003ccite>(Photo: Courtesy of Steven Abeyta)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2 class=\"css-1xl4flh e2kc3sl0\">So how does this become a play?\u003c/h2>\n\u003cp>To make it work for the stage, Garcia married bits from Arellano’s columns and books with music, dance, and back-and-forth with the audience. “The whole piece really is about asking questions. We say, “Ask, so you don’t look like a \u003ci>pendejo\u003c/i>.” I.e. stupid. “You can get educated and insulted at the same time.”\u003c/p>\n\u003cp>In the last year since the first staged reading at MACLA, \u003cem>¡Interview with a Mexican!\u003c/em> played in Denver and Albuquerque before returning to the Bay Area.\u003c/p>\n\u003cp>Garcia says he’s been surprised at how warmly audiences accept the edgy humor. “There is a conversation about how we can’t talk about race anymore without understanding everybody’s personal vibe. Clearly, I know enough to know when to keep my mouth shut, but on stage, I don’t think we have those same restrictions.”\u003c/p>\n\u003cp>Garcia has led Su Teatro for half a century, and says Arellano’s humor plays well in Denver. “There are Chicanos who’ve been there for a very long time. There’s recent immigrants. There’s second and third-generation Mexican-Americans kids who call themselves Mexicanos but don’t know shit about the Virgen de Guadalupe. And these are my students!” says Garcia, who’s also an adjunct professor at Metro State College in Denver.\u003c/p>\n\u003cp>Garcia adds he hopes this play can serve as a tool to help younger generations understand more about themselves in a palatable fashion. “We love to laugh at ourselves.”\u003c/p>\n\u003cp>Is there one question Arellano gets all the time: “If you hate Orange County so much, why do you live here?”\u003c/p>\n\u003cp>His answer: “You can only truly love Orange County if you despise it. Cause there’s a lot of horrible things with Orange County, but those things are slowly going away.”\u003c/p>\n\u003cp>Does that make Gustavo Arellano an optimist or a pessimist? Well, he’s still living there.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>\u003ca href=\"https://www.eventbrite.com/e/interview-with-a-mexican-tickets-50795561893\" target=\"_blank\" rel=\"noopener noreferrer\">¡Interview with a Mexican!\u003c/a> \u003c/strong>runs through November 11, 2018 at Movimiento de Arte y Cultura Latino Americana in San Jose. For more information, click \u003cstrong>\u003ca href=\"https://maclaarte.org\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "oh-the-humanity-twitchcon-draws-streaming-masses-to-san-jose",
"title": "Oh, the Humanity! TwitchCon Draws Streaming Masses to San Jose",
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"headTitle": "Oh, the Humanity! TwitchCon Draws Streaming Masses to San Jose | KQED",
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"content": "\u003cp>Tens of thousands of fans have descended from parts near and far on San Jose for \u003ca href=\"https://www.twitchcon.com/\" target=\"_blank\" rel=\"noopener\">TwitchCon 2018,\u003c/a> one giant thrill fest for those who live on the live-streaming platform.\u003c/p>\n\u003cp>During his \u003ca href=\"https://www.twitch.tv/videos/327720797?collection=QA6Amns-YRUdIA\" target=\"_blank\" rel=\"noopener\">keynote speech\u003c/a>, Twitch CEO Emmett Shear made a point of emphasizing his emphasis on community. “Today, you’re going to hear me say ‘community’ 46 times. There’s a good reason for that. Billions of them, actually.”\u003c/p>\n\u003cp>Twitch is predicated on a basic fact about humans: we like to watch other people and we like other people to watch us. TwitchCon is predicated on another basic fact about humans: we like to see the people we interact with, in person, eventually.\u003c/p>\n\u003cfigure id=\"attachment_13843653\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843653\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/RS33450_Photo-Oct-26-12-46-59-PM-qut-800x1067.jpg\" alt='Anthony Garcia and Alma Grace of Las Vegas dressed as \"skins\" from the game Fortnite: specifically, trex and triceratops. “It’s really fun. Every year, it grows,\" says Garcia. \"Just seeing all these other streamers and the community, it’s awesome.” ' width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33450_Photo-Oct-26-12-46-59-PM-qut-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33450_Photo-Oct-26-12-46-59-PM-qut-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33450_Photo-Oct-26-12-46-59-PM-qut-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33450_Photo-Oct-26-12-46-59-PM-qut-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33450_Photo-Oct-26-12-46-59-PM-qut-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33450_Photo-Oct-26-12-46-59-PM-qut-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33450_Photo-Oct-26-12-46-59-PM-qut-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33450_Photo-Oct-26-12-46-59-PM-qut-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33450_Photo-Oct-26-12-46-59-PM-qut-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33450_Photo-Oct-26-12-46-59-PM-qut-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33450_Photo-Oct-26-12-46-59-PM-qut-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33450_Photo-Oct-26-12-46-59-PM-qut.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Garcia and Alma Grace of Las Vegas dressed as “skins” from the game Fortnite: specifically, trex and triceratops. “It’s really fun. Every year, it grows,” says Garcia. “Just seeing all these other streamers and the community, it’s awesome.” \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thus, there’s a palpable thrill in the air at San Jose’s convention center, the kind of thrill that comes with viscerally sensing you are not alone in your passion for Twitch.\u003c/p>\n\u003cp>That’s the case for Marvin England, a systems engineer from Austin. “I’m here to meet other streamers I’ve only met online,” he says; especially Filipino streamers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>3D animator Lionel Milbourne of Baltimore was surprised by the size of this crowd after attending cons closer to home. “So far, it’s pretty lit. It’s a lot of people right here,” he says, his eyes spinning at the passing crowd.\u003c/p>\n\u003cp>Even people who work for Twitch are susceptible to the euphoria. Elena Gauvin of Sacramento, who works in trust and safety, says, “I’m excited to see my coworkers, because a lot of us are working remotely. So this might be the first time we’re meeting in person.”\u003c/p>\n\u003cfigure id=\"attachment_13843654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843654\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut-800x1067.jpg\" alt=\"Hair stylist Tara Yorence of Los Angeles offers advice to Joshua Tafur of New Jersey on how to grow his Twitch stream. (She’s got 1,600 followers.) “Don’t focus on numbers. That’s what’s going to burn you out. Just focus on having fun.” \" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hair stylist Tara Yorence of Los Angeles offered advice to Joshua Tafur of New Jersey on how to grow his Twitch stream. (She’s got 1,600 followers.) “Don’t focus on numbers. That’s what’s going to burn you out. Just focus on having fun.” \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It must also be said many Twitch streamers are interested in much more than engaging in it as a hobby. Like would-be Internet celebrities everywhere, huge numbers of streamers dream of achieving online stardom and lucrative sponsorship deals, and Twitch knows this.\u003c/p>\n\u003cp>The San Francisco-based, Amazon-owned platform has mastered the gamification of engagement with streamers. The more you stream, the more followers you have, the more support you get from Twitch building a bigger, better community.\u003c/p>\n\u003cp>If you can deliver 500 minutes of broadcast in the last 30 days with at least seven broadcasts, you can apply to be a part of a Twitch Affiliate program, where viewers can subscribe to your channel for $4.99.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.twitch.tv/?autoplay=false&video=v327720797\" frameborder=\"0\" allowfullscreen=\"true\" scrolling=\"no\" height=\"378\" width=\"620\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Consistently attract 70-80 viewers per stream, and you can become a Twitch Partner. This year, Twitch says more than 235,000 streamers reached Affiliate status, and 6,800 reached Partner status.\u003c/p>\n\u003cp>Subscriptions, sponsorships, ads, direct donations from fans: is it enough to quit your day job? Maybe for superstar streamers like Ninja, who landed the platform’s biggest pop culture coup when he got to play Fortnite with rapper Drake.\u003c/p>\n\u003cp>Ninja makes more than $500,000 a month, \u003ca href=\"https://www.cnbc.com/2018/03/19/tyler-ninja-blevins-explains-how-he-makes-more-than-500000-a-month-playing-video-game-fortnite.html\">according to CNBC\u003c/a>. But that’s not going to happen for most of the more than 15 million daily visitors Twitch says it has. Still, a streamer can dream, and TwitchCon encourages that dream with celebrity panels and new feature announcements.\u003c/p>\n\u003cfigure id=\"attachment_13843655\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843655\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/RS33448_Photo-Oct-26-12-17-08-PM-qut-800x604.jpg\" alt=\"The chalk wall at TwitchCon 2018 at the San Jose Convention Center.\" width=\"800\" height=\"604\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33448_Photo-Oct-26-12-17-08-PM-qut-800x604.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33448_Photo-Oct-26-12-17-08-PM-qut-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33448_Photo-Oct-26-12-17-08-PM-qut-768x580.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33448_Photo-Oct-26-12-17-08-PM-qut-1020x770.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33448_Photo-Oct-26-12-17-08-PM-qut-1200x906.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33448_Photo-Oct-26-12-17-08-PM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33448_Photo-Oct-26-12-17-08-PM-qut-1180x891.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33448_Photo-Oct-26-12-17-08-PM-qut-960x725.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33448_Photo-Oct-26-12-17-08-PM-qut-240x181.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33448_Photo-Oct-26-12-17-08-PM-qut-375x283.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33448_Photo-Oct-26-12-17-08-PM-qut-520x392.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The chalk wall at TwitchCon 2018 at the San Jose Convention Center. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If anybody at TwitchCom 2018 was thinking about the two people killed and 11 injured in a mass shooting during a “Madden NFL” tournament in Jacksonville, Florida two months ago, nobody was talking about it with this reporter.\u003c/p>\n\u003cp>But they were buzzing about safety and security \u003cem>online\u003c/em>: namely, troll control. Twitch is doing better supporting civility, says Miriam Aguirre. She’s a senior VP of engineering at \u003ca href=\"http://corp.skillz.com\" target=\"_blank\" rel=\"noopener\">Skillz\u003c/a>, an mobile multiplayer competition platform.\u003c/p>\n\u003cp>Aguirre is speaking Sunday on a \u003ca href=\"https://twitchcon.com/schedule/women-in-gaming-how-to-break-the-cycle-of-underrepresentation/\" target=\"_blank\" rel=\"noopener\">panel\u003c/a> about the under-representation of women in gaming. She’s hoping people who left gaming because they felt unwelcome or unsafe in previous years consider coming back in 2018. She says the industry has grown increasingly sensitized to the need for tools like the one Twitch just unveiled, allowing streamers and moderators to see anybody’s chat rap sheet at a click.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“A lot of these tools should have been made available early on, but I’m glad they’re finally getting around to it,” Aguirre says.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tens of thousands of fans have descended from parts near and far on San Jose for \u003ca href=\"https://www.twitchcon.com/\" target=\"_blank\" rel=\"noopener\">TwitchCon 2018,\u003c/a> one giant thrill fest for those who live on the live-streaming platform.\u003c/p>\n\u003cp>During his \u003ca href=\"https://www.twitch.tv/videos/327720797?collection=QA6Amns-YRUdIA\" target=\"_blank\" rel=\"noopener\">keynote speech\u003c/a>, Twitch CEO Emmett Shear made a point of emphasizing his emphasis on community. “Today, you’re going to hear me say ‘community’ 46 times. There’s a good reason for that. Billions of them, actually.”\u003c/p>\n\u003cp>Twitch is predicated on a basic fact about humans: we like to watch other people and we like other people to watch us. TwitchCon is predicated on another basic fact about humans: we like to see the people we interact with, in person, eventually.\u003c/p>\n\u003cfigure id=\"attachment_13843653\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843653\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/RS33450_Photo-Oct-26-12-46-59-PM-qut-800x1067.jpg\" alt='Anthony Garcia and Alma Grace of Las Vegas dressed as \"skins\" from the game Fortnite: specifically, trex and triceratops. “It’s really fun. Every year, it grows,\" says Garcia. \"Just seeing all these other streamers and the community, it’s awesome.” ' width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33450_Photo-Oct-26-12-46-59-PM-qut-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33450_Photo-Oct-26-12-46-59-PM-qut-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33450_Photo-Oct-26-12-46-59-PM-qut-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33450_Photo-Oct-26-12-46-59-PM-qut-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33450_Photo-Oct-26-12-46-59-PM-qut-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33450_Photo-Oct-26-12-46-59-PM-qut-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33450_Photo-Oct-26-12-46-59-PM-qut-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33450_Photo-Oct-26-12-46-59-PM-qut-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33450_Photo-Oct-26-12-46-59-PM-qut-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33450_Photo-Oct-26-12-46-59-PM-qut-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33450_Photo-Oct-26-12-46-59-PM-qut-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33450_Photo-Oct-26-12-46-59-PM-qut.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Garcia and Alma Grace of Las Vegas dressed as “skins” from the game Fortnite: specifically, trex and triceratops. “It’s really fun. Every year, it grows,” says Garcia. “Just seeing all these other streamers and the community, it’s awesome.” \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thus, there’s a palpable thrill in the air at San Jose’s convention center, the kind of thrill that comes with viscerally sensing you are not alone in your passion for Twitch.\u003c/p>\n\u003cp>That’s the case for Marvin England, a systems engineer from Austin. “I’m here to meet other streamers I’ve only met online,” he says; especially Filipino streamers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>3D animator Lionel Milbourne of Baltimore was surprised by the size of this crowd after attending cons closer to home. “So far, it’s pretty lit. It’s a lot of people right here,” he says, his eyes spinning at the passing crowd.\u003c/p>\n\u003cp>Even people who work for Twitch are susceptible to the euphoria. Elena Gauvin of Sacramento, who works in trust and safety, says, “I’m excited to see my coworkers, because a lot of us are working remotely. So this might be the first time we’re meeting in person.”\u003c/p>\n\u003cfigure id=\"attachment_13843654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843654\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut-800x1067.jpg\" alt=\"Hair stylist Tara Yorence of Los Angeles offers advice to Joshua Tafur of New Jersey on how to grow his Twitch stream. (She’s got 1,600 followers.) “Don’t focus on numbers. That’s what’s going to burn you out. Just focus on having fun.” \" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33446_Photo-Oct-26-1-07-59-PM-qut.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hair stylist Tara Yorence of Los Angeles offered advice to Joshua Tafur of New Jersey on how to grow his Twitch stream. (She’s got 1,600 followers.) “Don’t focus on numbers. That’s what’s going to burn you out. Just focus on having fun.” \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It must also be said many Twitch streamers are interested in much more than engaging in it as a hobby. Like would-be Internet celebrities everywhere, huge numbers of streamers dream of achieving online stardom and lucrative sponsorship deals, and Twitch knows this.\u003c/p>\n\u003cp>The San Francisco-based, Amazon-owned platform has mastered the gamification of engagement with streamers. The more you stream, the more followers you have, the more support you get from Twitch building a bigger, better community.\u003c/p>\n\u003cp>If you can deliver 500 minutes of broadcast in the last 30 days with at least seven broadcasts, you can apply to be a part of a Twitch Affiliate program, where viewers can subscribe to your channel for $4.99.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://player.twitch.tv/?autoplay=false&video=v327720797\" frameborder=\"0\" allowfullscreen=\"true\" scrolling=\"no\" height=\"378\" width=\"620\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Consistently attract 70-80 viewers per stream, and you can become a Twitch Partner. This year, Twitch says more than 235,000 streamers reached Affiliate status, and 6,800 reached Partner status.\u003c/p>\n\u003cp>Subscriptions, sponsorships, ads, direct donations from fans: is it enough to quit your day job? Maybe for superstar streamers like Ninja, who landed the platform’s biggest pop culture coup when he got to play Fortnite with rapper Drake.\u003c/p>\n\u003cp>Ninja makes more than $500,000 a month, \u003ca href=\"https://www.cnbc.com/2018/03/19/tyler-ninja-blevins-explains-how-he-makes-more-than-500000-a-month-playing-video-game-fortnite.html\">according to CNBC\u003c/a>. But that’s not going to happen for most of the more than 15 million daily visitors Twitch says it has. Still, a streamer can dream, and TwitchCon encourages that dream with celebrity panels and new feature announcements.\u003c/p>\n\u003cfigure id=\"attachment_13843655\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843655\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/RS33448_Photo-Oct-26-12-17-08-PM-qut-800x604.jpg\" alt=\"The chalk wall at TwitchCon 2018 at the San Jose Convention Center.\" width=\"800\" height=\"604\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33448_Photo-Oct-26-12-17-08-PM-qut-800x604.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33448_Photo-Oct-26-12-17-08-PM-qut-160x121.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33448_Photo-Oct-26-12-17-08-PM-qut-768x580.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33448_Photo-Oct-26-12-17-08-PM-qut-1020x770.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33448_Photo-Oct-26-12-17-08-PM-qut-1200x906.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33448_Photo-Oct-26-12-17-08-PM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33448_Photo-Oct-26-12-17-08-PM-qut-1180x891.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33448_Photo-Oct-26-12-17-08-PM-qut-960x725.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33448_Photo-Oct-26-12-17-08-PM-qut-240x181.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33448_Photo-Oct-26-12-17-08-PM-qut-375x283.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/RS33448_Photo-Oct-26-12-17-08-PM-qut-520x392.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The chalk wall at TwitchCon 2018 at the San Jose Convention Center. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If anybody at TwitchCom 2018 was thinking about the two people killed and 11 injured in a mass shooting during a “Madden NFL” tournament in Jacksonville, Florida two months ago, nobody was talking about it with this reporter.\u003c/p>\n\u003cp>But they were buzzing about safety and security \u003cem>online\u003c/em>: namely, troll control. Twitch is doing better supporting civility, says Miriam Aguirre. She’s a senior VP of engineering at \u003ca href=\"http://corp.skillz.com\" target=\"_blank\" rel=\"noopener\">Skillz\u003c/a>, an mobile multiplayer competition platform.\u003c/p>\n\u003cp>Aguirre is speaking Sunday on a \u003ca href=\"https://twitchcon.com/schedule/women-in-gaming-how-to-break-the-cycle-of-underrepresentation/\" target=\"_blank\" rel=\"noopener\">panel\u003c/a> about the under-representation of women in gaming. She’s hoping people who left gaming because they felt unwelcome or unsafe in previous years consider coming back in 2018. She says the industry has grown increasingly sensitized to the need for tools like the one Twitch just unveiled, allowing streamers and moderators to see anybody’s chat rap sheet at a click.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“A lot of these tools should have been made available early on, but I’m glad they’re finally getting around to it,” Aguirre says.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Vintage Signs of San Jose Light Up Forever in Suhita Shirodkar's Sketches",
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"content": "\u003cp>If you see a woman gazing at the city skyline in downtown San Jose, watercolor brush in one hand, sketchpad in the other, chances are it’s Suhita Shirodkar. And you’d best take note of what she’s painting—it might not be there for long.\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"http://www.suhitasketch.com\" target=\"_blank\" rel=\"noopener\">Shirodkar\u003c/a> is a sign painter, but not \u003cem>that\u003c/em> kind of sign painter. Instead of making the large-scale neon and metal signs that once drew crowds to bowling alleys, liquor stores and auto dealers, Shirodkar paints what remains, often capturing vestiges of a San Jose long gone.\u003c/p>\n\u003cp>https://www.instagram.com/p/Bn6y9llF43u/?taken-by=kqed_arts\u003c/p>\n\u003cp>Her urban sketches memorialize the vintage signs of family-owned businesses, formerly popular pastimes and even the area’s agricultural past. Maintenance and questions of ownership often leave vintage signs in limbo, and volunteer preservationists are often no match for the speed of San Jose’s development.\u003c/p>\n\u003cp>Despite the number of \u003ca href=\"http://www.vintagesignsanjose.com/tag/vintage-signs/\" target=\"_blank\" rel=\"noopener\">signs she’s painted that have since disappeared\u003c/a>, Shirodkar is optimistic. “Preservation and development don’t have to be enemies. They can happen hand in hand,” she says. “There’s a big hope that a lot of the big companies here that are part of this quick development will also be part of who helps preserve these signs.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watch Shirodkar draw inspiration from San Jose’s past and see more of her sketches in person in \u003ca href=\"http://historysanjose.org/wp/exhibits-activities/mckay-gallery/\" target=\"_blank\" rel=\"noopener\">\u003cem>Sign of the Times\u003c/em>\u003c/a> at History San José. – \u003cem>Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you see a woman gazing at the city skyline in downtown San Jose, watercolor brush in one hand, sketchpad in the other, chances are it’s Suhita Shirodkar. And you’d best take note of what she’s painting—it might not be there for long.\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"http://www.suhitasketch.com\" target=\"_blank\" rel=\"noopener\">Shirodkar\u003c/a> is a sign painter, but not \u003cem>that\u003c/em> kind of sign painter. Instead of making the large-scale neon and metal signs that once drew crowds to bowling alleys, liquor stores and auto dealers, Shirodkar paints what remains, often capturing vestiges of a San Jose long gone.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Her urban sketches memorialize the vintage signs of family-owned businesses, formerly popular pastimes and even the area’s agricultural past. Maintenance and questions of ownership often leave vintage signs in limbo, and volunteer preservationists are often no match for the speed of San Jose’s development.\u003c/p>\n\u003cp>Despite the number of \u003ca href=\"http://www.vintagesignsanjose.com/tag/vintage-signs/\" target=\"_blank\" rel=\"noopener\">signs she’s painted that have since disappeared\u003c/a>, Shirodkar is optimistic. “Preservation and development don’t have to be enemies. They can happen hand in hand,” she says. “There’s a big hope that a lot of the big companies here that are part of this quick development will also be part of who helps preserve these signs.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watch Shirodkar draw inspiration from San Jose’s past and see more of her sketches in person in \u003ca href=\"http://historysanjose.org/wp/exhibits-activities/mckay-gallery/\" target=\"_blank\" rel=\"noopener\">\u003cem>Sign of the Times\u003c/em>\u003c/a> at History San José. – \u003cem>Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'The Face on the Barroom Floor' Celebrates 40 Years",
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"content": "\u003cp>Composer \u003ca href=\"http://henrymollicone.com\" target=\"_blank\" rel=\"noopener\">Henry Mollicone\u003c/a> was a young man 40 years ago when the \u003ca href=\"https://centralcityopera.org\" target=\"_blank\" rel=\"noopener\">Central City Opera Company\u003c/a> in Colorado commissioned him to write something short, something its younger singers could cut their teeth on. \u003c/p>\n\u003cp>“To our great shock it caught on like wildfire,” he says.\u003c/p>\n\u003cp>Mollicone, a South Bay local, doesn’t have an exact count as to how many times \u003ci>The Face on the Barroom Floor\u003c/i> has been performed since 1978, but it’s well north of 700. \u003c/p>\n\u003cp>“Unbelievable. We had no idea that it would become a popular work,” he says.\u003c/p>\n\u003cp>No, that’s not a common fate for most modern American operas, even for Mollicone, who’s written more than one popular work in a long, successful career as a composer. Mollicone suspects this opera’s enduring appeal is tied to the fact that it’s cheap to perform.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There’s only three instruments and three singers, and all you need is a set, the barroom set. Or even better, perform it in a barroom,” Mollicone says. \u003c/p>\n\u003cp>Also, there’s the engaging libretto by John Bowman, inspired by a locally-famous painting of a pretty woman’s face on the floor of a hotel bar near the Central City Opera House. The Denver artist who created it, Herndon Davis, was said to have used his wife Juanita as the model, but the concept was inspired by Hugh Antoine D’Arcy’s 1887 poem, \u003ca href=\"https://en.wikipedia.org/wiki/The_Face_upon_the_Barroom_Floor\" target=\"_blank\" rel=\"noopener\">\u003cem>The Face Upon the Floor\u003c/em>\u003c/a>. Here’s a wee excerpt to give you an idea:\u003c/p>\n\u003cdl>\n\u003cdd>\u003cem>Say boys, if you give me just another whiskey, I’ll be glad.\u003c/em>\u003c/dd>\n\u003cdd>\u003cem>And I’ll draw right here a picture, of the face that drove me mad.\u003c/em>\u003c/dd>\n\u003cdd>\u003cem>Give me that piece of chalk with which you mark the baseball score\u003c/em>\u003c/dd>\n\u003cdd>\u003cem>And you shall see the lovely Madeline upon the barroom floor.\u003c/em>\u003c/dd>\n\u003c/dl>\n\u003cp>The poem, it must be said, is a little dated. But it wasn’t anything more than a loose inspiration for the opera. “We created our own story,” Mollicone says.\u003c/p>\n\u003cfigure id=\"attachment_13839328\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839328\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-800x533.jpg\" alt=\"The Central City Opera Company still performs the opera it commissioned. In their production earlier this year, Zachary Johnson played Tom and John.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Central City Opera Company still performs the opera it commissioned. In their production earlier this year, Zachary Johnson played Tom and John. \u003ccite>(Photo: Courtesy of Amanda Tipton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The opera tells two tales, separated in time, and parallel in character and theme. The poem’s Madeline becomes a saloon girl in a 19th-century gold mining camp. Her modern counterpart, sung by the same singer, is Isabel, an ambitious up-and-comer in the Central City Opera chorus. Both are loved by two men, and as the opera moves between centuries, the parallel plots come to the same tragic end — all in less than half an hour.\u003c/p>\n\u003cp>Mollicone’s music is accessible, even to non-opera fans, as it draws liberally from jazz and musical theater. “It’s melodic. Like many of my operas, it has popular jazz elements woven into an operatic texture. I call a lot of my operatic works crossover pieces,” he says.\u003c/p>\n\u003cp>Barbara Day Turner and \u003ca href=\"https://www.danielhelfgot.com\" target=\"_blank\" rel=\"noopener\">Daniel Helfgot\u003c/a>, a super couple in the South Bay opera world working on the latest rendition of \u003cem>The Face\u003c/em>, agree. Turner is the founder and music director of the \u003ca href=\"https://sjco.org\" target=\"_blank\" rel=\"noopener\">San Jose Chamber Orchestra\u003c/a>, which is performing \u003ci>The Face on the Barroom Floor\u003c/i> at \u003ca href=\"https://3belowtheaters.com/events/face-barroom-floor/\" target=\"_blank\" rel=\"noopener\">3Below Theaters\u003c/a>.\u003c/p>\n\u003cp>Helfgot is a stage director. “We love Henry Mollicone’s musical language. We’ve done at least three of his operas,” he says.\u003c/p>\n\u003cp>“He really is a treasure,” says Turner, who recalls performing \u003cem>Face on the Barroom Floor\u003c/em> roughly 30 years ago with \u003ca href=\"https://www.operasj.org\" target=\"_blank\" rel=\"noopener\">Opera San Jose\u003c/a>, back when the space \u003ca href=\"http://www.cafestritch.com\" target=\"_blank\" rel=\"noopener\">Cafe Stritch\u003c/a> now occupies was the Eulipia Restaurant and Bar.\u003c/p>\n\u003cp>If you’re thinking a half hour is rather short for a schlep to downtown San Jose, you’ll be pleased to hear there’s more to the evening than the opera. Its performance will be preceded by a selection of Mollicone’s other works, as well as a clip from a 2013 documentary, \u003cem>The Face On The Barroom Floor: The Poem, The Place, The Opera.\u003c/em>\u003cbr>\n[youtube https://www.youtube.com/watch?v=QnKiW8AP4CQ]\u003c/p>\n\u003cp>As for why Turner believes the opera hasn’t aged out of the opera world’s repertoire? “Human relationships and artistry: It’s a story that’s not tied to a time.”\u003c/p>\n\u003cp>Helfgot adds, “Most opera was written reflecting some contemporary issues. The fact that they survive the time is because the musical language is valuable. Most operas premiere and you never hear about them again. So the fact that [\u003cem>The\u003c/em> \u003cem>Face on the Barroom Floor\u003c/em>] has been around for forty years is a really good sign.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Face on the Barroom Floor\u003c/strong> plays August 24-26, 2018 at 3Below Theaters in San Jose. For more information, click \u003ca href=\"https://3belowtheaters.com/events/face-barroom-floor/\" 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>Composer \u003ca href=\"http://henrymollicone.com\" target=\"_blank\" rel=\"noopener\">Henry Mollicone\u003c/a> was a young man 40 years ago when the \u003ca href=\"https://centralcityopera.org\" target=\"_blank\" rel=\"noopener\">Central City Opera Company\u003c/a> in Colorado commissioned him to write something short, something its younger singers could cut their teeth on. \u003c/p>\n\u003cp>“To our great shock it caught on like wildfire,” he says.\u003c/p>\n\u003cp>Mollicone, a South Bay local, doesn’t have an exact count as to how many times \u003ci>The Face on the Barroom Floor\u003c/i> has been performed since 1978, but it’s well north of 700. \u003c/p>\n\u003cp>“Unbelievable. We had no idea that it would become a popular work,” he says.\u003c/p>\n\u003cp>No, that’s not a common fate for most modern American operas, even for Mollicone, who’s written more than one popular work in a long, successful career as a composer. Mollicone suspects this opera’s enduring appeal is tied to the fact that it’s cheap to perform.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There’s only three instruments and three singers, and all you need is a set, the barroom set. Or even better, perform it in a barroom,” Mollicone says. \u003c/p>\n\u003cp>Also, there’s the engaging libretto by John Bowman, inspired by a locally-famous painting of a pretty woman’s face on the floor of a hotel bar near the Central City Opera House. The Denver artist who created it, Herndon Davis, was said to have used his wife Juanita as the model, but the concept was inspired by Hugh Antoine D’Arcy’s 1887 poem, \u003ca href=\"https://en.wikipedia.org/wiki/The_Face_upon_the_Barroom_Floor\" target=\"_blank\" rel=\"noopener\">\u003cem>The Face Upon the Floor\u003c/em>\u003c/a>. Here’s a wee excerpt to give you an idea:\u003c/p>\n\u003cdl>\n\u003cdd>\u003cem>Say boys, if you give me just another whiskey, I’ll be glad.\u003c/em>\u003c/dd>\n\u003cdd>\u003cem>And I’ll draw right here a picture, of the face that drove me mad.\u003c/em>\u003c/dd>\n\u003cdd>\u003cem>Give me that piece of chalk with which you mark the baseball score\u003c/em>\u003c/dd>\n\u003cdd>\u003cem>And you shall see the lovely Madeline upon the barroom floor.\u003c/em>\u003c/dd>\n\u003c/dl>\n\u003cp>The poem, it must be said, is a little dated. But it wasn’t anything more than a loose inspiration for the opera. “We created our own story,” Mollicone says.\u003c/p>\n\u003cfigure id=\"attachment_13839328\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839328\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-800x533.jpg\" alt=\"The Central City Opera Company still performs the opera it commissioned. In their production earlier this year, Zachary Johnson played Tom and John.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32464_finalccofacedress18_0015-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Central City Opera Company still performs the opera it commissioned. In their production earlier this year, Zachary Johnson played Tom and John. \u003ccite>(Photo: Courtesy of Amanda Tipton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The opera tells two tales, separated in time, and parallel in character and theme. The poem’s Madeline becomes a saloon girl in a 19th-century gold mining camp. Her modern counterpart, sung by the same singer, is Isabel, an ambitious up-and-comer in the Central City Opera chorus. Both are loved by two men, and as the opera moves between centuries, the parallel plots come to the same tragic end — all in less than half an hour.\u003c/p>\n\u003cp>Mollicone’s music is accessible, even to non-opera fans, as it draws liberally from jazz and musical theater. “It’s melodic. Like many of my operas, it has popular jazz elements woven into an operatic texture. I call a lot of my operatic works crossover pieces,” he says.\u003c/p>\n\u003cp>Barbara Day Turner and \u003ca href=\"https://www.danielhelfgot.com\" target=\"_blank\" rel=\"noopener\">Daniel Helfgot\u003c/a>, a super couple in the South Bay opera world working on the latest rendition of \u003cem>The Face\u003c/em>, agree. Turner is the founder and music director of the \u003ca href=\"https://sjco.org\" target=\"_blank\" rel=\"noopener\">San Jose Chamber Orchestra\u003c/a>, which is performing \u003ci>The Face on the Barroom Floor\u003c/i> at \u003ca href=\"https://3belowtheaters.com/events/face-barroom-floor/\" target=\"_blank\" rel=\"noopener\">3Below Theaters\u003c/a>.\u003c/p>\n\u003cp>Helfgot is a stage director. “We love Henry Mollicone’s musical language. We’ve done at least three of his operas,” he says.\u003c/p>\n\u003cp>“He really is a treasure,” says Turner, who recalls performing \u003cem>Face on the Barroom Floor\u003c/em> roughly 30 years ago with \u003ca href=\"https://www.operasj.org\" target=\"_blank\" rel=\"noopener\">Opera San Jose\u003c/a>, back when the space \u003ca href=\"http://www.cafestritch.com\" target=\"_blank\" rel=\"noopener\">Cafe Stritch\u003c/a> now occupies was the Eulipia Restaurant and Bar.\u003c/p>\n\u003cp>If you’re thinking a half hour is rather short for a schlep to downtown San Jose, you’ll be pleased to hear there’s more to the evening than the opera. Its performance will be preceded by a selection of Mollicone’s other works, as well as a clip from a 2013 documentary, \u003cem>The Face On The Barroom Floor: The Poem, The Place, The Opera.\u003c/em>\u003cbr>\n\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/QnKiW8AP4CQ'\n title='//www.youtube.com/embed/QnKiW8AP4CQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>As for why Turner believes the opera hasn’t aged out of the opera world’s repertoire? “Human relationships and artistry: It’s a story that’s not tied to a time.”\u003c/p>\n\u003cp>Helfgot adds, “Most opera was written reflecting some contemporary issues. 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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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"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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"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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"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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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
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"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.",
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},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"order": 9
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"id": "fresh-air",
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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": {
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"id": "latino-usa",
"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
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"link": "/radio/program/latino-usa",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"source": "WaitWhat"
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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",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"source": "kqed",
"order": 11
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