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He released four albums in all, the last of which — \u003cem>Love You Madly Hate You Badly\u003c/em> — came out in April.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\">\u003cdiv class=\"wp-block-embed__wrapper\">\nhttps://www.youtube.com/watch?v=FxG-7AsbjeI&list=RDFxG-7AsbjeI&start_radio=1\n\u003c/div>\u003c/figure>\n\n\n\n\u003cp>Rio de Janeiro’s Military Fire Department said one of the helicopters crashed on the parking lot of a car dealership, where several electric vehicles were parked, igniting a fire that was extinguished.\u003c/p>\n\n\n\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Officials said an investigation is underway to determine the cause of the collision.\u003c/p>\n\n\n\n\u003cp>Tree was visiting Rio de Janeiro after playing a show in Sao Paolo. He published \u003ca href=\"https://www.instagram.com/p/DZiBnX1uIV_/?hl=en\">a video on his Instagram\u003c/a> Saturday showing him playing soccer with locals in a Brazilian neighborhood, appearing to be in good spirits.\u003c/p>\n\n\n\n\u003cp>After news of the deadly crash broke, tributes to Tree poured in online.\u003cbr>\u003cbr>\u003ca href=\"https://www.instagram.com/p/DZlHALAgQPF/\">Steve-O posted a photo\u003c/a> of himself with Tree on Instagram, stating: “I was incredibly lucky to become friends with Oliver Tree. He would check in on me regularly, and let me know he cared about how I was doing. Such a great person.”\u003c/p>\n\n\n\n\u003cp>\u003ca href=\"https://x.com/KiDCuDi/status/2066260078219428344\">Kid Cudi wrote on X\u003c/a>, “This is heartbreaking. A really amazing and beautiful human. This shit sucks bad. Sending all my prayers and love to the families dealing with losses. Oliver we love you, forever.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1020\" height=\"680\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001-1020x680.jpg\" alt=\"\" class=\"wp-image-13917242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001.jpg 1920w\" sizes=\"auto, (max-width: 1020px) 100vw, 1020px\">\u003cfigcaption class=\"wp-element-caption\">Oliver Tree, left, performs at Outside Lands on Friday, August 5, 2022. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Tree’s ex-girlfriend, musician \u003ca href=\"https://www.melaniemartinezmusic.com/\">Melanie Martinez\u003c/a>, shared: “I think everyone who knew him will look back at those moments of laughter and joy he so easily sparked. His laugh was so contagious and warm. His ability to lead creatively and take action while also maintaining a sense of childlike wonder and awe was so inspiring. He had such a soft heart and was a true artist in every way.”\u003c/p>\n\n\n\n\u003cp>Argentine streaming channel Blender reported that content creator \u003ca href=\"https://www.youtube.com/@GaspiPD\">Gaspar Prim Díaz\u003c/a> — also known as Gaspi — was also in one of the helicopters. Gaspi, 23, had more than 2.8 million followers on YouTube.\u003c/p>\n\n\n\n\u003cp>“Thanks for your art, your magic and your sensibility, every one of us will miss you,” Blender said on its X account.\u003c/p>\n\n\n\n\u003cp>Fernandes de Freitas, a tire repair worker, said he saw one of the helicopters in flames following the midair collision, and noticed that one of the passengers jumped out of the other aircraft, before it hit the ground.\u003c/p>\n\n\n\n\u003cp>\u003c/p>\n\u003cp>“It was terrifying, absolutely horrifying,” De Freitas said.\u003c/p>\n\n",
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"innerHTML": "\n\u003cp>Tree rose to fame in 2017 after collaborating with Chicago DJ Whethan on “\u003ca href=\"https://www.youtube.com/watch?v=eWMlwFFbf_0\">When I’m Down\u003c/a>,” an alt-pop track that tackled themes of sadness and depression in a disarmingly sunny way. His debut album, 2020’s \u003cem>Ugly Is Beautiful\u003c/em> spawned more hits including “Let Me Down,” “Alien Boy” and “Miracle Man.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>In the Bay Area, Tree performed at music festivals like Wobbleland and Outside Lands. He released four albums in all, the last of which — \u003cem>Love You Madly Hate You Badly\u003c/em> — came out in April.\u003c/p>\n",
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"innerHTML": "\n\u003cp>Tree was visiting Rio de Janeiro after playing a show in Sao Paolo. He published \u003ca href=\"https://www.instagram.com/p/DZiBnX1uIV_/?hl=en\">a video on his Instagram\u003c/a> Saturday showing him playing soccer with locals in a Brazilian neighborhood, appearing to be in good spirits.\u003c/p>\n",
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"innerHTML": "\n\u003cp>After news of the deadly crash broke, tributes to Tree poured in online.\u003cbr>\u003cbr>\u003ca href=\"https://www.instagram.com/p/DZlHALAgQPF/\">Steve-O posted a photo\u003c/a> of himself with Tree on Instagram, stating: “I was incredibly lucky to become friends with Oliver Tree. He would check in on me regularly, and let me know he cared about how I was doing. Such a great person.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>\u003ca href=\"https://x.com/KiDCuDi/status/2066260078219428344\">Kid Cudi wrote on X\u003c/a>, “This is heartbreaking. A really amazing and beautiful human. This shit sucks bad. Sending all my prayers and love to the families dealing with losses. Oliver we love you, forever.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>Tree’s ex-girlfriend, musician \u003ca href=\"https://www.melaniemartinezmusic.com/\">Melanie Martinez\u003c/a>, shared: “I think everyone who knew him will look back at those moments of laughter and joy he so easily sparked. His laugh was so contagious and warm. His ability to lead creatively and take action while also maintaining a sense of childlike wonder and awe was so inspiring. He had such a soft heart and was a true artist in every way.”\u003c/p>\n",
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"innerHTML": "\n\u003cp>Argentine streaming channel Blender reported that content creator \u003ca href=\"https://www.youtube.com/@GaspiPD\">Gaspar Prim Díaz\u003c/a> — also known as Gaspi — was also in one of the helicopters. Gaspi, 23, had more than 2.8 million followers on YouTube.\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.olivertreemusic.com/\">Oliver Tree\u003c/a>, the \u003ca href=\"https://www.kqed.org/arts/tag/santa-cruz\">Santa Cruz\u003c/a>-born singer and comedian, has died at age 32.\u003c/p>\n\n\n\n\u003cp>On Sunday morning, two helicopters collided over Rio de Janeiro and crashed in the city’s western zone, killing all six people aboard, firefighters said. Tree was on the list of passengers given to aviation authorities. (At press time, responders have not been able to positively identify the bodies of those killed in the crash.)\u003c/p>\n\n\n\n\u003cp>Tree rose to fame in 2017 after collaborating with Chicago DJ Whethan on “\u003ca href=\"https://www.youtube.com/watch?v=eWMlwFFbf_0\">When I’m Down\u003c/a>,” an alt-pop track that tackled themes of sadness and depression in a disarmingly sunny way. His debut album, 2020’s \u003cem>Ugly Is Beautiful\u003c/em> spawned more hits including “Let Me Down,” “Alien Boy” and “Miracle Man.”\u003c/p>\n\n\n\n\u003cp>Tree, who once fronted a ska band called Irony in Santa Cruz and studied business at San Francisco State University, was instantly recognizable for his cartoonish fashion choices and bizarre wigs.\u003c/p>\n\n\n\n\u003cp>In the Bay Area, Tree performed at music festivals like Wobbleland and Outside Lands. He released four albums in all, the last of which — \u003cem>Love You Madly Hate You Badly\u003c/em> — came out in April.\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\">\u003cdiv class=\"wp-block-embed__wrapper\">\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/FxG-7AsbjeI'\n title='//www.youtube.com/embed/FxG-7AsbjeI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\u003c/figure>\n\n\n\n\u003cp>Rio de Janeiro’s Military Fire Department said one of the helicopters crashed on the parking lot of a car dealership, where several electric vehicles were parked, igniting a fire that was extinguished.\u003c/p>\n\n\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Officials said an investigation is underway to determine the cause of the collision.\u003c/p>\n\n\n\n\u003cp>Tree was visiting Rio de Janeiro after playing a show in Sao Paolo. He published \u003ca href=\"https://www.instagram.com/p/DZiBnX1uIV_/?hl=en\">a video on his Instagram\u003c/a> Saturday showing him playing soccer with locals in a Brazilian neighborhood, appearing to be in good spirits.\u003c/p>\n\n\n\n\u003cp>After news of the deadly crash broke, tributes to Tree poured in online.\u003cbr>\u003cbr>\u003ca href=\"https://www.instagram.com/p/DZlHALAgQPF/\">Steve-O posted a photo\u003c/a> of himself with Tree on Instagram, stating: “I was incredibly lucky to become friends with Oliver Tree. He would check in on me regularly, and let me know he cared about how I was doing. Such a great person.”\u003c/p>\n\n\n\n\u003cp>\u003ca href=\"https://x.com/KiDCuDi/status/2066260078219428344\">Kid Cudi wrote on X\u003c/a>, “This is heartbreaking. A really amazing and beautiful human. This shit sucks bad. Sending all my prayers and love to the families dealing with losses. Oliver we love you, forever.”\u003c/p>\n\n\n\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"1020\" height=\"680\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001-1020x680.jpg\" alt=\"\" class=\"wp-image-13917242\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001.jpg 1920w\" sizes=\"auto, (max-width: 1020px) 100vw, 1020px\">\u003cfigcaption class=\"wp-element-caption\">Oliver Tree, left, performs at Outside Lands on Friday, August 5, 2022. (Estefany Gonzalez for KQED)\u003c/figcaption>\u003c/figure>\n\n\n\n\u003cp>Tree’s ex-girlfriend, musician \u003ca href=\"https://www.melaniemartinezmusic.com/\">Melanie Martinez\u003c/a>, shared: “I think everyone who knew him will look back at those moments of laughter and joy he so easily sparked. His laugh was so contagious and warm. His ability to lead creatively and take action while also maintaining a sense of childlike wonder and awe was so inspiring. He had such a soft heart and was a true artist in every way.”\u003c/p>\n\n\n\n\u003cp>Argentine streaming channel Blender reported that content creator \u003ca href=\"https://www.youtube.com/@GaspiPD\">Gaspar Prim Díaz\u003c/a> — also known as Gaspi — was also in one of the helicopters. Gaspi, 23, had more than 2.8 million followers on YouTube.\u003c/p>\n\n\n\n\u003cp>“Thanks for your art, your magic and your sensibility, every one of us will miss you,” Blender said on its X account.\u003c/p>\n\n\n\n\u003cp>Fernandes de Freitas, a tire repair worker, said he saw one of the helicopters in flames following the midair collision, and noticed that one of the passengers jumped out of the other aircraft, before it hit the ground.\u003c/p>\n\n\n\n\u003cp>\u003c/p>\n\u003cp>“It was terrifying, absolutely horrifying,” De Freitas said.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s a cloudy June morning at a community garden in \u003ca href=\"https://www.kqed.org/news/tag/santa-cruz\">Santa Cruz\u003c/a>, a verdant green space tucked into the U-shaped end of a residential cul-de-sac. Grassy pathways wind past small garden plots, each an expression of the interests or culture of its caretaker. Some beds burst with vegetables and herbs while others sit bare, their damp soil just waiting for new seeds to take root.\u003c/p>\n\u003cp>At the eastern edge of the garden, a rainbow flag flutters in the wind, signaling the location of the Bitter Cotyledons, a queer and trans Asian American gardening collective. Here, four longtime members talk excitedly about their plans for their plants.\u003c/p>\n\u003cp>A thick bush of Japanese buckwheat, with its distinct heart-shaped leaves and tiny white flowers, is earmarked for an experiment in milling soba noodle flour. A type of mugwort native to Korea and Japan is set aside for making mochi or herbal cigarettes. Chrysanthemum bushes that produce white, fluffy flowers in the fall are reserved for a traditional Chinese tea.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We basically grow Asian vegetables to understand and explore our cultural identities and ancestries, but through our queer experiences of being in diaspora,” said Kellee Matsushita-Tseng, a fourth-generation Japanese American and third-generation Chinese American farmer.\u003c/p>\n\u003cp>In 2019, she co-founded the Bitter Cotyledons with her partner, Tam Welch, a Korean American who works in the arts. As Matsushita-Tseng explained, the name of the collective carries ideas about the nourishing qualities of bitter Asian foods and queer communities — and how both can grow despite being underappreciated. (A cotyledon is the first leaf that emerges from a plant embryo, providing it with nutrients while it grows.)\u003c/p>\n\u003cfigure id=\"attachment_13980873\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980873\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250830_AAPIGARDENINGCOLLECTIVE00282_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250830_AAPIGARDENINGCOLLECTIVE00282_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250830_AAPIGARDENINGCOLLECTIVE00282_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250830_AAPIGARDENINGCOLLECTIVE00282_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250830_AAPIGARDENINGCOLLECTIVE00282_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kellee Matsushita-Tseng, founder of Bitter Cotyledons, poses for a portrait at the collective’s community garden in Santa Cruz on Aug. 30, 2025. Bitter Cotyledons strives to build a community for queer and Asian individuals to connect with their culture through gardening and food. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Every weekend, the Bitter Cotyledons meet to tend their plot at the community garden, a city-owned space. With twelve regularly active members, the collective is growing around 35 different vegetables and herbs, including Chinese licorice, Japanese Akahana Mame beans, Vietnamese coriander and perilla. It’s a lot for their 750 square feet of land (300 of which is on loan from a neighboring gardener). If given more space, they’d keep expanding.\u003c/p>\n\u003cp>And they aren’t alone. \u003ca href=\"https://www.nass.usda.gov/Publications/Highlights/2024/Census22_HL_AsianProducers.pdf\">According\u003c/a> to the USDA, an increasing number of Asian Americans are getting into agriculture. Between 2017 and 2022, the number of Asian farmers and ranchers in the U.S. rose by 8 percent, even as the total number of farmers and ranchers fell by about 1 percent. California leads the way with the highest number of Asian farmers, including \u003ca href=\"https://www.masumoto.com/\">Matsumoto Family Farm\u003c/a> near Fresno, and \u003ca href=\"https://www.kqed.org/arts/13897752/radical-family-farms-asian-produce-taiwanese-identity-sonoma\">Leslie Wiser at Radical Family Farms\u003c/a> and Kristyn Leach at \u003ca href=\"https://www.kqed.org/arts/13928023/kristyn-leach-asian-american-farmer-gohyang-seed-campus-sebastopol\">Gohyang Fields\u003c/a>, both in Sebastopol. In some ways, the Bitter Cotyledons reflect this broader trend. But they aren’t growing crops for mass distribution or profit — they’re cultivating queer and cultural belonging.\u003c/p>\n\u003cp>“A lot of us have difficult or distant relationships with our blood families in part because of our queer identities,” Matsushita-Tseng explained. Coming together around plants is a way to connect with their cultures on their own terms and in alignment with their own values.\u003c/p>\n\u003ch2>Chrysanthemum dreams\u003c/h2>\n\u003cp>Outside the garden, the collective gets together periodically to cook, share meals and exchange recipes. Hot pot loaded with the different vegetables they’ve grown is a particular favorite.\u003c/p>\n\u003cp>In the past, the group has selected which plants to cultivate together, but this year, each member is responsible for one plant on their own, nurturing it from seed to the kitchen. “The one I’m focusing on this season is the chrysanthemum,” said Louise Leong, a Chinese American artist. She’s already tossed the edible greens from one variety of the flower into soup and rolled them into a batter with shrimp to make fritters.\u003c/p>\n\u003cfigure id=\"attachment_13980874\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980874\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250830_AAPIGARDENINGCOLLECTIVE00370_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250830_AAPIGARDENINGCOLLECTIVE00370_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250830_AAPIGARDENINGCOLLECTIVE00370_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250830_AAPIGARDENINGCOLLECTIVE00370_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250830_AAPIGARDENINGCOLLECTIVE00370_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Members of Bitter Cotyledons tend to their gardening plot in Santa Cruz on Aug. 30, 2025. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Leong joined the Bitter Cotyledons after responding to a call for new members on Lex, an app for finding LGBTQ+ friends. “It said something like, ‘Queer Asians who want to learn how to grow vegetables — join here,’” Leong said, chuckling. “At that time, I was getting more interested in my heritage and learning how to cook more Chinese dishes.” Bitter Cotyledons gave her a safe space to express the “shame” she felt for not already knowing how, she said.\u003c/p>\n\u003cp>Even if Leong had had that knowledge, sourcing the ingredients on her own wouldn’t have been easy. Santa Cruz’s lack of an Asian grocery store is a reason Leong and other collective members often hear for why Asian Americans wind up leaving the city.\u003c/p>\n\u003cp>Santa Cruz County has only a 6 percent Asian American population — a stark \u003ca href=\"https://www.census.gov/quickfacts/fact/table/santaclaracountycalifornia,santacruzcountycalifornia/PST045224\">contrast\u003c/a> to 43 percent “over the hill” in Santa Clara County, where Asian grocers and restaurants are far more abundant. Before they started growing their own produce, collective members routinely had to drive 30 miles to San Jose to shop at places like 99 Ranch, Mitsuwa Marketplace, Đại-Thành Supermarket or H-Mart if they wanted to cook anything with “special vegetables,” Matsushita-Tseng said.\u003c/p>\n\u003cp>That includes choy sum, gobo (Japanese burdock root), gai lan (Chinese broccoli) and mustard greens. Now, the collective’s garden allows members to cultivate hard-to-find varieties that aren’t available in grocery stores at all.\u003c/p>\n\u003ch2>A need for community\u003c/h2>\n\u003cp>At the Santa Cruz plot, the four gardeners who’d come to tend to their plots this day observed with concern that their mugwort had spread wildly, threatening to overrun the surrounding plants. Without hesitation, Nat L., one of the oldest members, took action, snipping off the tall stalks with garden shears while the others looked on, amused by their quick response.\u003c/p>\n\u003cp>“It was just three of us for a while,” said Nat, a biologist born and raised in Singapore who declined to give their last name. Nat met Matsushita-Tseng and Welch at a plant swap and joined Bitter Cotyledons during a time of intense isolation and introspection in the spring of 2021.\u003c/p>\n\u003cfigure id=\"attachment_13980878\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980878\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250830_AAPIGARDENINGCOLLECTIVE00703_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250830_AAPIGARDENINGCOLLECTIVE00703_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250830_AAPIGARDENINGCOLLECTIVE00703_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250830_AAPIGARDENINGCOLLECTIVE00703_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250830_AAPIGARDENINGCOLLECTIVE00703_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A black sesame plant grows on Bitter Cotyledons’ plot in Santa Cruz on Aug. 30, 2025. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>California was slowly reopening after an almost yearlong lockdown. Anti-Asian rhetoric and hate crimes had surged after Donald Trump’s claims that China was to blame for COVID-19. A gunman had shot and killed eight people, six of Asian descent, at Young’s Asian Massage Parlor in Georgia.\u003c/p>\n\u003cp>“I was trying to figure out my place here, in a very white community, when all these massive discussions and questions around race and racial justice were happening,” Nat said. “There was a real need to be able to talk about it and have community, sometimes to just express frustrations at the system.”\u003c/p>\n\u003cp>Before she started the collective, Matsushita-Tseng came from a similar place. As a farmer, she often found herself in environments where she was the only queer person and person of color. Bitter Cotyledons was born out of “necessity,” she explained. “For queer folks, at least in my experience, our survival and well-being depend on the ability to be in community.”\u003c/p>\n\u003cp>Now involved in multiple land-based collectives, she also works with \u003ca href=\"https://www.secondgenerationseeds.com/\">Second Generation Seeds\u003c/a>, a group of farmers preserving Asian heirloom seeds — some of which have found their way into the Bitter Cotyledons plot.\u003c/p>\n\u003cp>As morning gave way to afternoon, other community gardeners slowly began arriving to work their soil and water their plants. Gophers tunneled underground, gnawing on roots and occasionally popping their heads up to sniff the air. One surfaced near Leong, who sat low to the ground in a small, repurposed classroom chair, reflecting on the benefits of collective gardening.\u003c/p>\n\u003cfigure id=\"attachment_13980876\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980876\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250830_AAPIGARDENINGCOLLECTIVE00512_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250830_AAPIGARDENINGCOLLECTIVE00512_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250830_AAPIGARDENINGCOLLECTIVE00512_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250830_AAPIGARDENINGCOLLECTIVE00512_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250830_AAPIGARDENINGCOLLECTIVE00512_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Harvested tomatoes fill containers. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like others in the group, she said gardening with other queer Asian Americans has supported her mental health, something she thinks about deeply as a therapist’s wife. “Our families have all experienced trauma from migration or war, separation or interpersonal relationships,” Leong said. “But then there’s also this aspect where you don’t really talk about it. I think that’s fairly common in Asian families and Asian communities.”\u003c/p>\n\u003cp>In fact, research indicates that \u003ca href=\"https://www.mdpi.com/1660-4601/17/18/6740\">community gardening\u003c/a> and access to \u003ca href=\"https://pmc.ncbi.nlm.nih.gov/articles/PMC7829482/\">culturally significant foods\u003c/a> are both powerful tools for promoting mental well-being. Gardening with others in a group enhances resilience and reduces depression. And expressing one’s cultural identity through food has been associated with pleasure, belonging and comfort.\u003c/p>\n\u003cp>In the Bay Area, these wellness resources are particularly important, as financial barriers and a lack of gender- and culturally-affirming providers pose major obstacles to mental healthcare for queer and trans Asian Americans and Pacific Islanders, according to Jasmine Hoo, the healing justice organizer at \u003ca href=\"https://lavenderphoenix.org/\">Lavender Phoenix\u003c/a>, a Bay Area organization dedicated to meeting the needs of this population. While not a panacea, collective growing can provide gentle support, with benefits that sometimes extend beyond the garden.\u003c/p>\n\u003cp>For Bitter Cotyledons co-founder Welch, those benefits include being able to keep a roof over their head. For the last three years, the National Low Income Housing Coalition has \u003ca href=\"https://nlihc.org/sites/default/files/oor/2025_OOR-California.pdf\">ranked\u003c/a> Santa Cruz County the most costly place to rent, not only in California but in the nation. So when Welch’s landlord sold their apartment building, giving them two months to find a new place after 15 years of tenancy, the Bitter Cotyledons were the ones who stepped in, helping with the move and offering food.\u003c/p>\n\u003cfigure id=\"attachment_13980880\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13980880 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250830_AAPIGARDENINGCOLLECTIVE00812_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250830_AAPIGARDENINGCOLLECTIVE00812_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250830_AAPIGARDENINGCOLLECTIVE00812_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250830_AAPIGARDENINGCOLLECTIVE00812_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250830_AAPIGARDENINGCOLLECTIVE00812_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tam Welch, co-founder of Bitter Cotyledons, poses for a portrait at the collective’s garden in Santa Cruz on Aug. 30, 2025. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Without this group, I would not have stayed in Santa Cruz,” Welch said.\u003c/p>\n\u003cp>Before co-founding the gardening collective, Welch said it had been challenging to build a queer Asian community, as potential friends often moved away for more affordable housing. Now, Welch no longer worries about finding community because they know they’ll find it at their shared garden plot every weekend.\u003c/p>\n\u003cp>Bitter Cotyledons has gotten large enough now that most people hear about it through word of mouth. Recognizing the diversity of the Asian diaspora, the group is expanding to include Pacific Islanders, Southwest Asians and North Africans (\u003ca href=\"https://swanaalliance.com/about\">SWANA\u003c/a>).\u003c/p>\n\u003cp>“There’s a lot of interest in learning about culinary Asian ancestral foodways,” Welch said, noting that even straight people have inquired about joining the collective. However, Welch and Matsushita-Tseng are committed to preserving this uniquely queer space, ensuring their community has a place to feel rooted.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "The Bitter Cotyledons collective grows Asian crops to connect with their ancestors and help queer folks feel rooted.\r\n",
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"title": "A Santa Cruz Gardening Collective Cultivates Belonging for Queer and Trans Asian Americans | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a cloudy June morning at a community garden in \u003ca href=\"https://www.kqed.org/news/tag/santa-cruz\">Santa Cruz\u003c/a>, a verdant green space tucked into the U-shaped end of a residential cul-de-sac. Grassy pathways wind past small garden plots, each an expression of the interests or culture of its caretaker. Some beds burst with vegetables and herbs while others sit bare, their damp soil just waiting for new seeds to take root.\u003c/p>\n\u003cp>At the eastern edge of the garden, a rainbow flag flutters in the wind, signaling the location of the Bitter Cotyledons, a queer and trans Asian American gardening collective. Here, four longtime members talk excitedly about their plans for their plants.\u003c/p>\n\u003cp>A thick bush of Japanese buckwheat, with its distinct heart-shaped leaves and tiny white flowers, is earmarked for an experiment in milling soba noodle flour. A type of mugwort native to Korea and Japan is set aside for making mochi or herbal cigarettes. Chrysanthemum bushes that produce white, fluffy flowers in the fall are reserved for a traditional Chinese tea.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We basically grow Asian vegetables to understand and explore our cultural identities and ancestries, but through our queer experiences of being in diaspora,” said Kellee Matsushita-Tseng, a fourth-generation Japanese American and third-generation Chinese American farmer.\u003c/p>\n\u003cp>In 2019, she co-founded the Bitter Cotyledons with her partner, Tam Welch, a Korean American who works in the arts. As Matsushita-Tseng explained, the name of the collective carries ideas about the nourishing qualities of bitter Asian foods and queer communities — and how both can grow despite being underappreciated. (A cotyledon is the first leaf that emerges from a plant embryo, providing it with nutrients while it grows.)\u003c/p>\n\u003cfigure id=\"attachment_13980873\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980873\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250830_AAPIGARDENINGCOLLECTIVE00282_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250830_AAPIGARDENINGCOLLECTIVE00282_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250830_AAPIGARDENINGCOLLECTIVE00282_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250830_AAPIGARDENINGCOLLECTIVE00282_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250830_AAPIGARDENINGCOLLECTIVE00282_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kellee Matsushita-Tseng, founder of Bitter Cotyledons, poses for a portrait at the collective’s community garden in Santa Cruz on Aug. 30, 2025. Bitter Cotyledons strives to build a community for queer and Asian individuals to connect with their culture through gardening and food. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Every weekend, the Bitter Cotyledons meet to tend their plot at the community garden, a city-owned space. With twelve regularly active members, the collective is growing around 35 different vegetables and herbs, including Chinese licorice, Japanese Akahana Mame beans, Vietnamese coriander and perilla. It’s a lot for their 750 square feet of land (300 of which is on loan from a neighboring gardener). If given more space, they’d keep expanding.\u003c/p>\n\u003cp>And they aren’t alone. \u003ca href=\"https://www.nass.usda.gov/Publications/Highlights/2024/Census22_HL_AsianProducers.pdf\">According\u003c/a> to the USDA, an increasing number of Asian Americans are getting into agriculture. Between 2017 and 2022, the number of Asian farmers and ranchers in the U.S. rose by 8 percent, even as the total number of farmers and ranchers fell by about 1 percent. California leads the way with the highest number of Asian farmers, including \u003ca href=\"https://www.masumoto.com/\">Matsumoto Family Farm\u003c/a> near Fresno, and \u003ca href=\"https://www.kqed.org/arts/13897752/radical-family-farms-asian-produce-taiwanese-identity-sonoma\">Leslie Wiser at Radical Family Farms\u003c/a> and Kristyn Leach at \u003ca href=\"https://www.kqed.org/arts/13928023/kristyn-leach-asian-american-farmer-gohyang-seed-campus-sebastopol\">Gohyang Fields\u003c/a>, both in Sebastopol. In some ways, the Bitter Cotyledons reflect this broader trend. But they aren’t growing crops for mass distribution or profit — they’re cultivating queer and cultural belonging.\u003c/p>\n\u003cp>“A lot of us have difficult or distant relationships with our blood families in part because of our queer identities,” Matsushita-Tseng explained. Coming together around plants is a way to connect with their cultures on their own terms and in alignment with their own values.\u003c/p>\n\u003ch2>Chrysanthemum dreams\u003c/h2>\n\u003cp>Outside the garden, the collective gets together periodically to cook, share meals and exchange recipes. Hot pot loaded with the different vegetables they’ve grown is a particular favorite.\u003c/p>\n\u003cp>In the past, the group has selected which plants to cultivate together, but this year, each member is responsible for one plant on their own, nurturing it from seed to the kitchen. “The one I’m focusing on this season is the chrysanthemum,” said Louise Leong, a Chinese American artist. She’s already tossed the edible greens from one variety of the flower into soup and rolled them into a batter with shrimp to make fritters.\u003c/p>\n\u003cfigure id=\"attachment_13980874\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980874\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250830_AAPIGARDENINGCOLLECTIVE00370_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250830_AAPIGARDENINGCOLLECTIVE00370_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250830_AAPIGARDENINGCOLLECTIVE00370_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250830_AAPIGARDENINGCOLLECTIVE00370_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250830_AAPIGARDENINGCOLLECTIVE00370_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Members of Bitter Cotyledons tend to their gardening plot in Santa Cruz on Aug. 30, 2025. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Leong joined the Bitter Cotyledons after responding to a call for new members on Lex, an app for finding LGBTQ+ friends. “It said something like, ‘Queer Asians who want to learn how to grow vegetables — join here,’” Leong said, chuckling. “At that time, I was getting more interested in my heritage and learning how to cook more Chinese dishes.” Bitter Cotyledons gave her a safe space to express the “shame” she felt for not already knowing how, she said.\u003c/p>\n\u003cp>Even if Leong had had that knowledge, sourcing the ingredients on her own wouldn’t have been easy. Santa Cruz’s lack of an Asian grocery store is a reason Leong and other collective members often hear for why Asian Americans wind up leaving the city.\u003c/p>\n\u003cp>Santa Cruz County has only a 6 percent Asian American population — a stark \u003ca href=\"https://www.census.gov/quickfacts/fact/table/santaclaracountycalifornia,santacruzcountycalifornia/PST045224\">contrast\u003c/a> to 43 percent “over the hill” in Santa Clara County, where Asian grocers and restaurants are far more abundant. Before they started growing their own produce, collective members routinely had to drive 30 miles to San Jose to shop at places like 99 Ranch, Mitsuwa Marketplace, Đại-Thành Supermarket or H-Mart if they wanted to cook anything with “special vegetables,” Matsushita-Tseng said.\u003c/p>\n\u003cp>That includes choy sum, gobo (Japanese burdock root), gai lan (Chinese broccoli) and mustard greens. Now, the collective’s garden allows members to cultivate hard-to-find varieties that aren’t available in grocery stores at all.\u003c/p>\n\u003ch2>A need for community\u003c/h2>\n\u003cp>At the Santa Cruz plot, the four gardeners who’d come to tend to their plots this day observed with concern that their mugwort had spread wildly, threatening to overrun the surrounding plants. Without hesitation, Nat L., one of the oldest members, took action, snipping off the tall stalks with garden shears while the others looked on, amused by their quick response.\u003c/p>\n\u003cp>“It was just three of us for a while,” said Nat, a biologist born and raised in Singapore who declined to give their last name. Nat met Matsushita-Tseng and Welch at a plant swap and joined Bitter Cotyledons during a time of intense isolation and introspection in the spring of 2021.\u003c/p>\n\u003cfigure id=\"attachment_13980878\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980878\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250830_AAPIGARDENINGCOLLECTIVE00703_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250830_AAPIGARDENINGCOLLECTIVE00703_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250830_AAPIGARDENINGCOLLECTIVE00703_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250830_AAPIGARDENINGCOLLECTIVE00703_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250830_AAPIGARDENINGCOLLECTIVE00703_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A black sesame plant grows on Bitter Cotyledons’ plot in Santa Cruz on Aug. 30, 2025. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>California was slowly reopening after an almost yearlong lockdown. Anti-Asian rhetoric and hate crimes had surged after Donald Trump’s claims that China was to blame for COVID-19. A gunman had shot and killed eight people, six of Asian descent, at Young’s Asian Massage Parlor in Georgia.\u003c/p>\n\u003cp>“I was trying to figure out my place here, in a very white community, when all these massive discussions and questions around race and racial justice were happening,” Nat said. “There was a real need to be able to talk about it and have community, sometimes to just express frustrations at the system.”\u003c/p>\n\u003cp>Before she started the collective, Matsushita-Tseng came from a similar place. As a farmer, she often found herself in environments where she was the only queer person and person of color. Bitter Cotyledons was born out of “necessity,” she explained. “For queer folks, at least in my experience, our survival and well-being depend on the ability to be in community.”\u003c/p>\n\u003cp>Now involved in multiple land-based collectives, she also works with \u003ca href=\"https://www.secondgenerationseeds.com/\">Second Generation Seeds\u003c/a>, a group of farmers preserving Asian heirloom seeds — some of which have found their way into the Bitter Cotyledons plot.\u003c/p>\n\u003cp>As morning gave way to afternoon, other community gardeners slowly began arriving to work their soil and water their plants. Gophers tunneled underground, gnawing on roots and occasionally popping their heads up to sniff the air. One surfaced near Leong, who sat low to the ground in a small, repurposed classroom chair, reflecting on the benefits of collective gardening.\u003c/p>\n\u003cfigure id=\"attachment_13980876\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980876\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250830_AAPIGARDENINGCOLLECTIVE00512_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250830_AAPIGARDENINGCOLLECTIVE00512_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250830_AAPIGARDENINGCOLLECTIVE00512_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250830_AAPIGARDENINGCOLLECTIVE00512_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250830_AAPIGARDENINGCOLLECTIVE00512_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Harvested tomatoes fill containers. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like others in the group, she said gardening with other queer Asian Americans has supported her mental health, something she thinks about deeply as a therapist’s wife. “Our families have all experienced trauma from migration or war, separation or interpersonal relationships,” Leong said. “But then there’s also this aspect where you don’t really talk about it. I think that’s fairly common in Asian families and Asian communities.”\u003c/p>\n\u003cp>In fact, research indicates that \u003ca href=\"https://www.mdpi.com/1660-4601/17/18/6740\">community gardening\u003c/a> and access to \u003ca href=\"https://pmc.ncbi.nlm.nih.gov/articles/PMC7829482/\">culturally significant foods\u003c/a> are both powerful tools for promoting mental well-being. Gardening with others in a group enhances resilience and reduces depression. And expressing one’s cultural identity through food has been associated with pleasure, belonging and comfort.\u003c/p>\n\u003cp>In the Bay Area, these wellness resources are particularly important, as financial barriers and a lack of gender- and culturally-affirming providers pose major obstacles to mental healthcare for queer and trans Asian Americans and Pacific Islanders, according to Jasmine Hoo, the healing justice organizer at \u003ca href=\"https://lavenderphoenix.org/\">Lavender Phoenix\u003c/a>, a Bay Area organization dedicated to meeting the needs of this population. While not a panacea, collective growing can provide gentle support, with benefits that sometimes extend beyond the garden.\u003c/p>\n\u003cp>For Bitter Cotyledons co-founder Welch, those benefits include being able to keep a roof over their head. For the last three years, the National Low Income Housing Coalition has \u003ca href=\"https://nlihc.org/sites/default/files/oor/2025_OOR-California.pdf\">ranked\u003c/a> Santa Cruz County the most costly place to rent, not only in California but in the nation. So when Welch’s landlord sold their apartment building, giving them two months to find a new place after 15 years of tenancy, the Bitter Cotyledons were the ones who stepped in, helping with the move and offering food.\u003c/p>\n\u003cfigure id=\"attachment_13980880\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13980880 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250830_AAPIGARDENINGCOLLECTIVE00812_TV-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250830_AAPIGARDENINGCOLLECTIVE00812_TV-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250830_AAPIGARDENINGCOLLECTIVE00812_TV-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250830_AAPIGARDENINGCOLLECTIVE00812_TV-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250830_AAPIGARDENINGCOLLECTIVE00812_TV-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tam Welch, co-founder of Bitter Cotyledons, poses for a portrait at the collective’s garden in Santa Cruz on Aug. 30, 2025. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Without this group, I would not have stayed in Santa Cruz,” Welch said.\u003c/p>\n\u003cp>Before co-founding the gardening collective, Welch said it had been challenging to build a queer Asian community, as potential friends often moved away for more affordable housing. Now, Welch no longer worries about finding community because they know they’ll find it at their shared garden plot every weekend.\u003c/p>\n\u003cp>Bitter Cotyledons has gotten large enough now that most people hear about it through word of mouth. Recognizing the diversity of the Asian diaspora, the group is expanding to include Pacific Islanders, Southwest Asians and North Africans (\u003ca href=\"https://swanaalliance.com/about\">SWANA\u003c/a>).\u003c/p>\n\u003cp>“There’s a lot of interest in learning about culinary Asian ancestral foodways,” Welch said, noting that even straight people have inquired about joining the collective. However, Welch and Matsushita-Tseng are committed to preserving this uniquely queer space, ensuring their community has a place to feel rooted.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "kuumbwa-jazz-center-50th-anniversary-santa-cruz",
"title": "Kuumbwa at 50: A Jazz Club Celebrates a Half-Century of Blowing Minds",
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"headTitle": "Kuumbwa at 50: A Jazz Club Celebrates a Half-Century of Blowing Minds | KQED",
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"content": "\u003cp>In the latter half of the 1980s, the mightiest improvisers in \u003ca href=\"https://www.kqed.org/arts/tag/jazz\">jazz\u003c/a> took the stage just about every Monday night at Santa Cruz’s \u003ca href=\"https://www.kuumbwajazz.org/\">Kuumbwa Jazz Center\u003c/a>.\u003c/p>\n\u003cp>For a budding jazz aficionado like myself, those shows at the pioneering nonprofit venue weren’t just an education. From my first interview disaster to covering a pivotal moment in international relations, the very seeds of my journalistic career were sown at Kuumbwa, a groundbreaking venue which celebrates its 50th anniversary in April.\u003c/p>\n\u003cfigure id=\"attachment_13973660\" class=\"wp-caption aligncenter\" style=\"max-width: 1873px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Kuumbwa.Construction.jpg\" alt=\"\" width=\"1873\" height=\"1266\" class=\"size-full wp-image-13973660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Kuumbwa.Construction.jpg 1873w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Kuumbwa.Construction-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Kuumbwa.Construction-1020x689.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Kuumbwa.Construction-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Kuumbwa.Construction-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Kuumbwa.Construction-1536x1038.jpg 1536w\" sizes=\"auto, (max-width: 1873px) 100vw, 1873px\">\u003cfigcaption class=\"wp-caption-text\">A construction crew takes a break on an unfinished stage before the 1975 opening of Kuumbwa Jazz Center in Santa Cruz. \u003ccite>(Courtesy Kuumbwa Jazz Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was baptism by bebop and far beyond. One night, as \u003ca href=\"https://www.kqed.org/arts/tag/sun-ra\">Sun Ra\u003c/a>’s bedazzled Arkestra promenaded up the aisles chanting “We travel the spaceways / From planet to planet,” led by the stratospheric pealing of alto saxophonist Marshall Allen, it became clear that jazz was a multiverse encompassing not only the far-flung African diaspora but several adjacent galaxies.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://ww2.kqed.org/spark/kuumbwa-jazz-center/\">Watch a video segment of KQED’s ‘Spark’ about the Kuumbwa Jazz Center here\u003c/a>.\u003c/em> \u003c/p>\n\u003ch2>Becoming a Jazz Destination\u003c/h2>\n\u003cp>First founded in 1975, Kuumbwa had by 1977 settled into its downtown space at 320 Cedar Street. Tim Jackson, a surfer and flutist first drawn to Santa Cruz by the waves, was the only co-founder left by the time I started volunteering to write Kuumbwa calendar copy in exchange for free tickets.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Turning Santa Cruz’s relatively remote location into an asset, Jackson established a viable nonprofit model for a jazz venue, with a cadre of dedicated volunteers and an avid audience supportive of his catholic programing. More than a dozen jazz venues around the country have since followed in Kuumbwa’s nonprofit footsteps.\u003c/p>\n\u003cfigure id=\"attachment_13973654\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Horace-Silver-with-Ralph-Moore-Brian-Lynch-Will-Wallace.jpg\" alt=\"\" width=\"2000\" height=\"1361\" class=\"size-full wp-image-13973654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Horace-Silver-with-Ralph-Moore-Brian-Lynch-Will-Wallace.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Horace-Silver-with-Ralph-Moore-Brian-Lynch-Will-Wallace-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Horace-Silver-with-Ralph-Moore-Brian-Lynch-Will-Wallace-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Horace-Silver-with-Ralph-Moore-Brian-Lynch-Will-Wallace-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Horace-Silver-with-Ralph-Moore-Brian-Lynch-Will-Wallace-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Horace-Silver-with-Ralph-Moore-Brian-Lynch-Will-Wallace-1536x1045.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Horace-Silver-with-Ralph-Moore-Brian-Lynch-Will-Wallace-1920x1307.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jazz piano great Horace Silver performing at Kuumbwa Jazz Center, with saxophonist Ralph Moore and trumpeter Brian Lynch. \u003ccite>(Will Wallace)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mondays were off-nights for artists heading south from the Bay Area down to Los Angeles, or in the reverse direction to play Keystone Korner, Kimball’s or Oakland’s Koncepts Cultural Gallery (what’s with all the K’s?). Kuumbwa quickly became a de rigueur stop for a broad swath of jazz’s elite, from swing era survivors, bebop legends and soul jazz preachers to avant garde avatars, Latin jazz heroes, neo-swing revivalists and hard-bopping young lions.\u003c/p>\n\u003cp>Jackson didn’t necessarily love every idiom, but he felt a responsibility to showcase the artists defining the contemporary scene. That commitment continued for decades. Jackson recently announced that he’ll move into an advisory role at Kuumbwa, while his son Bennett Jackson takes on programming duties as creative director and Chanel Enriquez becomes executive director.\u003c/p>\n\u003cfigure id=\"attachment_13973658\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Tim-Jackson-1975.jpg\" alt=\"\" width=\"2000\" height=\"1428\" class=\"size-full wp-image-13973658\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Tim-Jackson-1975.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Tim-Jackson-1975-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Tim-Jackson-1975-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Tim-Jackson-1975-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Tim-Jackson-1975-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Tim-Jackson-1975-1536x1097.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Tim-Jackson-1975-1920x1371.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kuumbwa Jazz Center founder Tim Jackson in 1975, preparing for the opening in Santa Cruz. \u003ccite>(Courtesy Kuumbwa Jazz Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Unforgettable Nights of Music\u003c/h2>\n\u003cp>Jackson’s semi-retirement (he \u003ca href=\"https://montereyjazz.org/news/press-releases/tim-jackson-monterey-jazz-festivals-artistic-director-steps-down/\">stepped down from his long-running role as the artistic director of the Monterey Jazz Festival\u003c/a> last year), plus the milestone of the club’s 50th anniversary, sparks a flood of memories. I can close my eyes, and the music from decades ago is more vivid than shows I saw last month.\u003c/p>\n\u003cp>Eddie Palmieri’s septet, which combined Latin percussion with jazz horns, opening up vast new Afro-Caribbean vistas as he treated the piano like 88 tuned drums. Shirley Horn’s singular combination of strength and tenderness, her harmonic wizardry at the piano and her time-stopping ballads. The Art Ensemble of Chicago’s pageantry and playfulness, with Lester Bowie’s slashing trumpet lines and Malachi Favor’s elemental bass. Max Roach paying tribute to Count Basie drummer Papa Jo Jones, using only two sticks and a hi-hat cymbal. \u003c/p>\n\u003cp>[aside postID='arts_13522444']The thing was, as a wannabe hippie who grew up with posters of the Who, the Beatles and the Grateful Dead on my bedroom wall, I didn’t expect to be up close and personal with musicians whose albums I had in regular rotation. At Kuumbwa, you could chat with artists after a show, or even approach one for an interview.\u003c/p>\n\u003cp>Although, as I learned, that might not always be a good idea.\u003c/p>\n\u003cfigure id=\"attachment_13973657\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/KJC-Will-Wallace.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13973657\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/KJC-Will-Wallace.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/KJC-Will-Wallace-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/KJC-Will-Wallace-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/KJC-Will-Wallace-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/KJC-Will-Wallace-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/KJC-Will-Wallace-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/KJC-Will-Wallace-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A dog, a door and a dream: the beginnings of Kuumbwa Jazz Center in Santa Cruz. \u003ccite>(Will Wallace)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tony Williams, the drum prodigy who helped revolutionize trumpet legend Miles Davis’ music in the mid-1960s at the age of 17, was a famously prickly character. Looking for quotes for a story about Kuumbwa’s 15th anniversary for the UC Santa Cruz weekly \u003cem>City On a Hill\u003c/em>, I introduced myself to him at a pre-concert event with my notepad, and without waiting, asked what he liked about playing the venue. I can still see his look of dismay as he backed away, murmuring “no press, no press.”\u003c/p>\n\u003cp>It was an inauspicious start for a career in culture reporting. But I survived the withering dismissal, and by 1989, I’d started writing features and reviews for the \u003cem>Santa Cruz Sentinel\u003c/em>. On the night that Nelson Mandela was released from prison in February 1990, Gil-Scott Heron was playing Kuumbwa. The mood was beyond ecstatic. As I was able to recount in my \u003cem>Sentinel\u003c/em> review, when he launched into “\u003ca href=\"https://www.youtube.com/watch?v=IarTdVuNZeQ\">Johannesburg\u003c/a>,” the structure barely survived the blast of energy.\u003c/p>\n\u003cfigure id=\"attachment_13973659\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Volunteers-Will-Wallace.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13973659\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Volunteers-Will-Wallace.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Volunteers-Will-Wallace-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Volunteers-Will-Wallace-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Volunteers-Will-Wallace-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Volunteers-Will-Wallace-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Volunteers-Will-Wallace-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Volunteers-Will-Wallace-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Volunteers at Santa Cruz’s Kuumbwa Jazz Center gather for a group photo, date unknown. \u003ccite>(Will Wallace)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Special Celebration\u003c/h2>\n\u003cp>Most of the artists who changed the course of my life as an undergrad are gone now. But as Kuumbwa celebrates its 50th anniversary in the coming months, the venue remains an essential part of the region’s musical ecosystem.\u003c/p>\n\u003cp>Kuumbwa’s Spirit of ’75 Series marks the milestone by presenting local artists with longstanding ties to the venue, like \u003ca href=\"https://www.kuumbwajazz.org/calendar/spirit-of-75-series-ken-okada-group-feat-yoyoka/\">San Jose bassist Ken Okada\u003c/a>, whose Japanese jazz fusion combo performs April 3 with \u003ca href=\"https://www.kqed.org/arts/13926065/yoyoka-soma-drummer-oakland\">teenage drum phenomenon Yoyoka\u003c/a>. (Tickets are priced at $19.75 in honor of the year Kuumbwa was founded.) \u003c/p>\n\u003cp>On May 2, the exhibition “\u003ca href=\"https://www.kuumbwajazz.org/calendar/first-friday-celebrating-creativity-50th-anniversary-exhibit-premiere-conversation/\">Celebrating Creativity\u003c/a>” opens with posters, photos, and historical ephemera from Kuumbwa’s archives spanning five decades. Part of Santa Cruz’s First Fridays, the event includes a conversation about Kuumbwa’s history and role in the region with Tim Jackson and Bay Area vocalist and historian Kim Nalley.\u003c/p>\n\u003cp>There’s a lot of ground to cover, and now the venue is in the next generation’s hands. May it continue to reverberate for another 50 years.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Details about Kuumbwa’s ongoing 50th anniversary celebration can be found at \u003ca href=\"https://www.kuumbwajazz.org/\">the club’s site\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the latter half of the 1980s, the mightiest improvisers in \u003ca href=\"https://www.kqed.org/arts/tag/jazz\">jazz\u003c/a> took the stage just about every Monday night at Santa Cruz’s \u003ca href=\"https://www.kuumbwajazz.org/\">Kuumbwa Jazz Center\u003c/a>.\u003c/p>\n\u003cp>For a budding jazz aficionado like myself, those shows at the pioneering nonprofit venue weren’t just an education. From my first interview disaster to covering a pivotal moment in international relations, the very seeds of my journalistic career were sown at Kuumbwa, a groundbreaking venue which celebrates its 50th anniversary in April.\u003c/p>\n\u003cfigure id=\"attachment_13973660\" class=\"wp-caption aligncenter\" style=\"max-width: 1873px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Kuumbwa.Construction.jpg\" alt=\"\" width=\"1873\" height=\"1266\" class=\"size-full wp-image-13973660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Kuumbwa.Construction.jpg 1873w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Kuumbwa.Construction-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Kuumbwa.Construction-1020x689.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Kuumbwa.Construction-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Kuumbwa.Construction-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Kuumbwa.Construction-1536x1038.jpg 1536w\" sizes=\"auto, (max-width: 1873px) 100vw, 1873px\">\u003cfigcaption class=\"wp-caption-text\">A construction crew takes a break on an unfinished stage before the 1975 opening of Kuumbwa Jazz Center in Santa Cruz. \u003ccite>(Courtesy Kuumbwa Jazz Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was baptism by bebop and far beyond. One night, as \u003ca href=\"https://www.kqed.org/arts/tag/sun-ra\">Sun Ra\u003c/a>’s bedazzled Arkestra promenaded up the aisles chanting “We travel the spaceways / From planet to planet,” led by the stratospheric pealing of alto saxophonist Marshall Allen, it became clear that jazz was a multiverse encompassing not only the far-flung African diaspora but several adjacent galaxies.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://ww2.kqed.org/spark/kuumbwa-jazz-center/\">Watch a video segment of KQED’s ‘Spark’ about the Kuumbwa Jazz Center here\u003c/a>.\u003c/em> \u003c/p>\n\u003ch2>Becoming a Jazz Destination\u003c/h2>\n\u003cp>First founded in 1975, Kuumbwa had by 1977 settled into its downtown space at 320 Cedar Street. Tim Jackson, a surfer and flutist first drawn to Santa Cruz by the waves, was the only co-founder left by the time I started volunteering to write Kuumbwa calendar copy in exchange for free tickets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Turning Santa Cruz’s relatively remote location into an asset, Jackson established a viable nonprofit model for a jazz venue, with a cadre of dedicated volunteers and an avid audience supportive of his catholic programing. More than a dozen jazz venues around the country have since followed in Kuumbwa’s nonprofit footsteps.\u003c/p>\n\u003cfigure id=\"attachment_13973654\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Horace-Silver-with-Ralph-Moore-Brian-Lynch-Will-Wallace.jpg\" alt=\"\" width=\"2000\" height=\"1361\" class=\"size-full wp-image-13973654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Horace-Silver-with-Ralph-Moore-Brian-Lynch-Will-Wallace.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Horace-Silver-with-Ralph-Moore-Brian-Lynch-Will-Wallace-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Horace-Silver-with-Ralph-Moore-Brian-Lynch-Will-Wallace-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Horace-Silver-with-Ralph-Moore-Brian-Lynch-Will-Wallace-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Horace-Silver-with-Ralph-Moore-Brian-Lynch-Will-Wallace-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Horace-Silver-with-Ralph-Moore-Brian-Lynch-Will-Wallace-1536x1045.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Horace-Silver-with-Ralph-Moore-Brian-Lynch-Will-Wallace-1920x1307.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jazz piano great Horace Silver performing at Kuumbwa Jazz Center, with saxophonist Ralph Moore and trumpeter Brian Lynch. \u003ccite>(Will Wallace)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mondays were off-nights for artists heading south from the Bay Area down to Los Angeles, or in the reverse direction to play Keystone Korner, Kimball’s or Oakland’s Koncepts Cultural Gallery (what’s with all the K’s?). Kuumbwa quickly became a de rigueur stop for a broad swath of jazz’s elite, from swing era survivors, bebop legends and soul jazz preachers to avant garde avatars, Latin jazz heroes, neo-swing revivalists and hard-bopping young lions.\u003c/p>\n\u003cp>Jackson didn’t necessarily love every idiom, but he felt a responsibility to showcase the artists defining the contemporary scene. That commitment continued for decades. Jackson recently announced that he’ll move into an advisory role at Kuumbwa, while his son Bennett Jackson takes on programming duties as creative director and Chanel Enriquez becomes executive director.\u003c/p>\n\u003cfigure id=\"attachment_13973658\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Tim-Jackson-1975.jpg\" alt=\"\" width=\"2000\" height=\"1428\" class=\"size-full wp-image-13973658\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Tim-Jackson-1975.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Tim-Jackson-1975-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Tim-Jackson-1975-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Tim-Jackson-1975-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Tim-Jackson-1975-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Tim-Jackson-1975-1536x1097.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Tim-Jackson-1975-1920x1371.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kuumbwa Jazz Center founder Tim Jackson in 1975, preparing for the opening in Santa Cruz. \u003ccite>(Courtesy Kuumbwa Jazz Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Unforgettable Nights of Music\u003c/h2>\n\u003cp>Jackson’s semi-retirement (he \u003ca href=\"https://montereyjazz.org/news/press-releases/tim-jackson-monterey-jazz-festivals-artistic-director-steps-down/\">stepped down from his long-running role as the artistic director of the Monterey Jazz Festival\u003c/a> last year), plus the milestone of the club’s 50th anniversary, sparks a flood of memories. I can close my eyes, and the music from decades ago is more vivid than shows I saw last month.\u003c/p>\n\u003cp>Eddie Palmieri’s septet, which combined Latin percussion with jazz horns, opening up vast new Afro-Caribbean vistas as he treated the piano like 88 tuned drums. Shirley Horn’s singular combination of strength and tenderness, her harmonic wizardry at the piano and her time-stopping ballads. The Art Ensemble of Chicago’s pageantry and playfulness, with Lester Bowie’s slashing trumpet lines and Malachi Favor’s elemental bass. Max Roach paying tribute to Count Basie drummer Papa Jo Jones, using only two sticks and a hi-hat cymbal. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The thing was, as a wannabe hippie who grew up with posters of the Who, the Beatles and the Grateful Dead on my bedroom wall, I didn’t expect to be up close and personal with musicians whose albums I had in regular rotation. At Kuumbwa, you could chat with artists after a show, or even approach one for an interview.\u003c/p>\n\u003cp>Although, as I learned, that might not always be a good idea.\u003c/p>\n\u003cfigure id=\"attachment_13973657\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/KJC-Will-Wallace.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13973657\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/KJC-Will-Wallace.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/KJC-Will-Wallace-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/KJC-Will-Wallace-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/KJC-Will-Wallace-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/KJC-Will-Wallace-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/KJC-Will-Wallace-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/KJC-Will-Wallace-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A dog, a door and a dream: the beginnings of Kuumbwa Jazz Center in Santa Cruz. \u003ccite>(Will Wallace)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tony Williams, the drum prodigy who helped revolutionize trumpet legend Miles Davis’ music in the mid-1960s at the age of 17, was a famously prickly character. Looking for quotes for a story about Kuumbwa’s 15th anniversary for the UC Santa Cruz weekly \u003cem>City On a Hill\u003c/em>, I introduced myself to him at a pre-concert event with my notepad, and without waiting, asked what he liked about playing the venue. I can still see his look of dismay as he backed away, murmuring “no press, no press.”\u003c/p>\n\u003cp>It was an inauspicious start for a career in culture reporting. But I survived the withering dismissal, and by 1989, I’d started writing features and reviews for the \u003cem>Santa Cruz Sentinel\u003c/em>. On the night that Nelson Mandela was released from prison in February 1990, Gil-Scott Heron was playing Kuumbwa. The mood was beyond ecstatic. As I was able to recount in my \u003cem>Sentinel\u003c/em> review, when he launched into “\u003ca href=\"https://www.youtube.com/watch?v=IarTdVuNZeQ\">Johannesburg\u003c/a>,” the structure barely survived the blast of energy.\u003c/p>\n\u003cfigure id=\"attachment_13973659\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Volunteers-Will-Wallace.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13973659\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Volunteers-Will-Wallace.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Volunteers-Will-Wallace-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Volunteers-Will-Wallace-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Volunteers-Will-Wallace-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Volunteers-Will-Wallace-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Volunteers-Will-Wallace-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Volunteers-Will-Wallace-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Volunteers at Santa Cruz’s Kuumbwa Jazz Center gather for a group photo, date unknown. \u003ccite>(Will Wallace)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Special Celebration\u003c/h2>\n\u003cp>Most of the artists who changed the course of my life as an undergrad are gone now. But as Kuumbwa celebrates its 50th anniversary in the coming months, the venue remains an essential part of the region’s musical ecosystem.\u003c/p>\n\u003cp>Kuumbwa’s Spirit of ’75 Series marks the milestone by presenting local artists with longstanding ties to the venue, like \u003ca href=\"https://www.kuumbwajazz.org/calendar/spirit-of-75-series-ken-okada-group-feat-yoyoka/\">San Jose bassist Ken Okada\u003c/a>, whose Japanese jazz fusion combo performs April 3 with \u003ca href=\"https://www.kqed.org/arts/13926065/yoyoka-soma-drummer-oakland\">teenage drum phenomenon Yoyoka\u003c/a>. (Tickets are priced at $19.75 in honor of the year Kuumbwa was founded.) \u003c/p>\n\u003cp>On May 2, the exhibition “\u003ca href=\"https://www.kuumbwajazz.org/calendar/first-friday-celebrating-creativity-50th-anniversary-exhibit-premiere-conversation/\">Celebrating Creativity\u003c/a>” opens with posters, photos, and historical ephemera from Kuumbwa’s archives spanning five decades. Part of Santa Cruz’s First Fridays, the event includes a conversation about Kuumbwa’s history and role in the region with Tim Jackson and Bay Area vocalist and historian Kim Nalley.\u003c/p>\n\u003cp>There’s a lot of ground to cover, and now the venue is in the next generation’s hands. May it continue to reverberate for another 50 years.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Details about Kuumbwa’s ongoing 50th anniversary celebration can be found at \u003ca href=\"https://www.kuumbwajazz.org/\">the club’s site\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Just when you thought it was safe to to go back in the the water, she’s returned!\u003c/p>\n\u003cp>Otter 841, the subversive sea mama with a surfboard vendetta has been spotted again in the waters of Santa Cruz after a five-month hiatus. In a move that was entirely on brand, she reemerged on Saturday afternoon during a surf competition. One minute, Karl Anderle was sitting on his board, quietly keeping recreational surfers out of the competition zone. The next, 841 was behind him, lurking on the back of his board and visibly plotting her next move.\u003c/p>\n\u003cp>[aside postid='arts_13955125']“I’m going over in my mind what I should do,” \u003ca href=\"https://www.mercurynews.com/2024/05/28/elusive-surfboard-stealing-otter-841-back-in-santa-cruz-up-to-her-old-tricks/\">Anderle, 69, told \u003cem>The Mercury News\u003c/em>\u003c/a>. “I didn’t really want her to bite me. I didn’t want to be that guy fighting an otter in the middle of a surf contest.”\u003c/p>\n\u003cp>As 841 began indulging in her favorite pastime — using the nearest surfboard as a chew toy — Anderle opted to slide into the water and wait it out. Despite attempts to tip 841 back off his board and into the water, the six-year-old sea menace stayed put for a full 15 minutes.\u003c/p>\n\u003cfigure id=\"attachment_13958780\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958780\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1546732755-scaled-e1717006000497.jpg\" alt=\"A man in a wetsuit sits on a white surfboard facing a large sea otter floating on its back.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Otter 841 facing off with a surfer at Steamer Lane along the Santa Cruz coastline in July 2023, when she first rose to fame. \u003ccite>(Gary Coronado/Los Angeles Times via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Otter 841 achieved worldwide notoriety last summer after attacking surfers, stealing surfboards and generally seeking revenge against all aquaphiles. The still-extremely-cute marine mammal evaded repeated attempts to capture her, having learned how to outwit humanity while being reared, first, at the UC Santa Cruz Research Center and then at the Monterey Bay Aquarium, from whence she was released.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After 841 \u003ca href=\"https://www.youtube.com/watch?v=QIKzAHYwfp8\">showed up in October with a tiny pup in tow\u003c/a>, it was hypothesized that maybe her prior bad acts were simply the result of raging pregnancy hormones. (Relatable!) Her reappearance, however, suggests she’s still keen to snack on surfboards, or at the very least steal a seat on them. Otter 841 can be identified by her blue tracking tag. She should be considered armed (with tiny teeth) and likely to embarrass any humans in her vicinity.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just when you thought it was safe to to go back in the the water, she’s returned!\u003c/p>\n\u003cp>Otter 841, the subversive sea mama with a surfboard vendetta has been spotted again in the waters of Santa Cruz after a five-month hiatus. In a move that was entirely on brand, she reemerged on Saturday afternoon during a surf competition. One minute, Karl Anderle was sitting on his board, quietly keeping recreational surfers out of the competition zone. The next, 841 was behind him, lurking on the back of his board and visibly plotting her next move.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I’m going over in my mind what I should do,” \u003ca href=\"https://www.mercurynews.com/2024/05/28/elusive-surfboard-stealing-otter-841-back-in-santa-cruz-up-to-her-old-tricks/\">Anderle, 69, told \u003cem>The Mercury News\u003c/em>\u003c/a>. “I didn’t really want her to bite me. I didn’t want to be that guy fighting an otter in the middle of a surf contest.”\u003c/p>\n\u003cp>As 841 began indulging in her favorite pastime — using the nearest surfboard as a chew toy — Anderle opted to slide into the water and wait it out. Despite attempts to tip 841 back off his board and into the water, the six-year-old sea menace stayed put for a full 15 minutes.\u003c/p>\n\u003cfigure id=\"attachment_13958780\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13958780\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1546732755-scaled-e1717006000497.jpg\" alt=\"A man in a wetsuit sits on a white surfboard facing a large sea otter floating on its back.\" width=\"1920\" height=\"1280\">\u003cfigcaption class=\"wp-caption-text\">Otter 841 facing off with a surfer at Steamer Lane along the Santa Cruz coastline in July 2023, when she first rose to fame. \u003ccite>(Gary Coronado/Los Angeles Times via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Otter 841 achieved worldwide notoriety last summer after attacking surfers, stealing surfboards and generally seeking revenge against all aquaphiles. The still-extremely-cute marine mammal evaded repeated attempts to capture her, having learned how to outwit humanity while being reared, first, at the UC Santa Cruz Research Center and then at the Monterey Bay Aquarium, from whence she was released.\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>After 841 \u003ca href=\"https://www.youtube.com/watch?v=QIKzAHYwfp8\">showed up in October with a tiny pup in tow\u003c/a>, it was hypothesized that maybe her prior bad acts were simply the result of raging pregnancy hormones. (Relatable!) Her reappearance, however, suggests she’s still keen to snack on surfboards, or at the very least steal a seat on them. Otter 841 can be identified by her blue tracking tag. She should be considered armed (with tiny teeth) and likely to embarrass any humans in her vicinity.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bassnectar and San Francisco’s Amorphous Music Sued For Sexual Abuse, Trafficking",
"headTitle": "Bassnectar and San Francisco’s Amorphous Music Sued For Sexual Abuse, Trafficking | KQED",
"content": "\u003cp>On Monday, April 5, a lawsuit was brought against Bassnectar by two women who say they had sexual relationships with the Santa Cruz DJ-producer while they were still underage. The case also accuses the EDM star—real name Lorin Ashton—of human trafficking, as well as making and possessing child pornography. [aside postid='arts_13883674']\u003c/p>\n\u003cp>Co-defendants in the lawsuit include San Francisco record label \u003ca href=\"https://www.amorphousmusic.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Amorphous Music\u003c/a>, along with Bassnectar Touring, \u003ca href=\"https://electronicdivision.redlightmanagement.com/artistmanagement/\" target=\"_blank\" rel=\"noopener noreferrer\">Red Light Management\u003c/a>, \u003ca href=\"https://www.c3presents.com/\" target=\"_blank\" rel=\"noopener noreferrer\">C3 Presents\u003c/a> and the \u003ca href=\"https://interactivegivingfund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Interactive Giving Fund\u003c/a> organization. In a \u003ca href=\"https://www.laffeybuccikent.com/world-famous-dj-bassnectar-management-companies-sued-for-human-trafficking-and-sexual-abuse/?fbclid=IwAR3JexSpeAYDCAS1ZVNZSuTWsexet2Bs9GaKjz1otHxsvnoNQlVoaBjoCMo\" target=\"_blank\" rel=\"noopener noreferrer\">press release\u003c/a>, a lawyer acting on behalf of Ashton’s accusers, Rachel Ramsbottom and Alexis Bowling, said: “This lawsuit is about seeking justice not just against Bassnectar but against the corporations that cooperate in and help facilitate the abuses he is alleged to have committed.”\u003c/p>\n\u003cp>Ashton’s attorney Mitchell Schuster, \u003ca href=\"https://www.rollingstone.com/music/music-news/bassnectar-lawsuit-sexual-abuse-child-pornography-allegations-1151652/\" target=\"_blank\" rel=\"noopener noreferrer\">in a statement to \u003cem>Rolling Stone\u003c/em>\u003c/a>, called the accusations by Ramsbottom and Bowling “outrageous claims.” He also suggested they were “clearly designed for the media, rather than the courts.”\u003c/p>\n\u003cp>Ashton announced he was \u003ca href=\"https://www.rollingstone.com/music/music-news/bassnectar-sexual-misconduct-allegations-1024324/\" target=\"_blank\" rel=\"noopener noreferrer\">stepping back\u003c/a> from music nine months ago, after multiple allegations about his relationships with young women and girls emerged online. These allegations, along with screenshots of emails and DMs from Ashton, were primarily gathered and shared by the \u003ca href=\"https://www.instagram.com/evidenceagainstbassnectar/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">@EvidenceAgainstBassnectar\u003c/a> Instagram account that launched in June 2020.\u003c/p>\n\u003cp>Ramsbottom and Bowling say Ashton initiated contact with them both via Twitter, initially in the manner of a friend and mentor. Interactions, they say, later became suggestive. Both say they had sex with him while underage, and that he solicited explicit photos from them. Ramsbottom says that several years later, Ashton offered her money to stay quiet about their former relationship.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some of the details included in Ramsbottom and Bowling’s lawsuit had already been posted to the @EvidenceAgainstBassnectar Instagram page. Multiple stories shared by the account accuse Ashton of knowingly engaging in \u003ca href=\"https://www.instagram.com/p/CCAmhzFpdPJ/\" target=\"_blank\" rel=\"noopener noreferrer\">sex with minors\u003c/a>, listing “young girls” on \u003ca href=\"https://www.instagram.com/p/CCCBd6VpEmC/\" target=\"_blank\" rel=\"noopener noreferrer\">his rider\u003c/a>, targeting \u003ca href=\"https://www.instagram.com/p/CCEia1apHy6/\" target=\"_blank\" rel=\"noopener noreferrer\">underage girls\u003c/a> online, using methods of \u003ca href=\"https://www.instagram.com/p/CCHUtODJCgn/\" target=\"_blank\" rel=\"noopener noreferrer\">grooming\u003c/a> and \u003ca href=\"https://www.instagram.com/p/CCDV9JkpK-C/\" target=\"_blank\" rel=\"noopener noreferrer\">emotional manipulation\u003c/a>, trying to make girls \u003ca href=\"https://www.instagram.com/p/CB_5_54Jo7M/\" target=\"_blank\" rel=\"noopener noreferrer\">sign NDAs\u003c/a> and encouraging fans to \u003ca href=\"https://www.instagram.com/p/CB_7dy6JIfF/\" target=\"_blank\" rel=\"noopener noreferrer\">bully his critics\u003c/a>. One post claims that the rumors about his relationships with underage girls date all the way \u003ca href=\"https://www.instagram.com/p/CB_1A9FJuT3/\" target=\"_blank\" rel=\"noopener noreferrer\">back to 2010\u003c/a>.\u003c/p>\n\u003cp>Former Bassnectar collaborators \u003ca href=\"https://mimipagemusic.tumblr.com/post/624224339345244160/an-open-letter-to-lorin-ashton-bassnectar-from\" target=\"_blank\" rel=\"noopener noreferrer\">Mimi Page\u003c/a> and \u003ca href=\"https://www.instagram.com/p/CB_1v3LJRvZ/\" target=\"_blank\" rel=\"noopener noreferrer\">Miranda Hughes\u003c/a> have since publicly denounced Ashton. But @EvidenceAgainstBassnectar has also inspired some of his former lovers to write Tumblr essays detailing their own negative experiences with him. “\u003ca href=\"https://mynameislauren2020.tumblr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">My Name Is Lauren\u003c/a>” accuses Ashton of committing “psychological abuse for his own perverse pleasure” and “inappropriately target[ing] young women.” And the “\u003ca href=\"https://psychicprincesscreation.tumblr.com/post/623014073571885056/some-notesedits-made-77-bassnectar-told-me\" target=\"_blank\" rel=\"noopener noreferrer\">My EAB\u003c/a>” page claims that Ashton “DEFINITELY knows he’s doing something wrong, otherwise he wouldn’t be sharing that hush money with you, or asking you to hide and delete everything.” [aside postid='pop_61190']\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ashton, who rose to fame playing sets at Burning Man and EDM parties in San Francisco, has long publicly identified as anti-sexist. (In one private\u003ca href=\"https://www.instagram.com/p/CCDHkryJwZI/\" target=\"_blank\" rel=\"noopener noreferrer\"> message\u003c/a> shared by @EvidenceAgainstBassnectar, he describes himself as “an earnest feminist, and a total ally.”) In a \u003ca href=\"https://www.instagram.com/p/CCMigC_gkXL/\" target=\"_blank\" rel=\"noopener noreferrer\">statement shared in a private Facebook fan group\u003c/a> last June, the DJ firmly defended himself. “The rumors of sexual misconduct that are circulating about me are completely untrue,” he wrote. “I have never been involved in anything that was not absolutely, unequivocally consensual … I have always supported victims of abuse and assault. I have protected women my whole life and I would simply never harm a woman.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Monday, April 5, a lawsuit was brought against Bassnectar by two women who say they had sexual relationships with the Santa Cruz DJ-producer while they were still underage. The case also accuses the EDM star—real name Lorin Ashton—of human trafficking, as well as making and possessing child pornography. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Co-defendants in the lawsuit include San Francisco record label \u003ca href=\"https://www.amorphousmusic.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Amorphous Music\u003c/a>, along with Bassnectar Touring, \u003ca href=\"https://electronicdivision.redlightmanagement.com/artistmanagement/\" target=\"_blank\" rel=\"noopener noreferrer\">Red Light Management\u003c/a>, \u003ca href=\"https://www.c3presents.com/\" target=\"_blank\" rel=\"noopener noreferrer\">C3 Presents\u003c/a> and the \u003ca href=\"https://interactivegivingfund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Interactive Giving Fund\u003c/a> organization. In a \u003ca href=\"https://www.laffeybuccikent.com/world-famous-dj-bassnectar-management-companies-sued-for-human-trafficking-and-sexual-abuse/?fbclid=IwAR3JexSpeAYDCAS1ZVNZSuTWsexet2Bs9GaKjz1otHxsvnoNQlVoaBjoCMo\" target=\"_blank\" rel=\"noopener noreferrer\">press release\u003c/a>, a lawyer acting on behalf of Ashton’s accusers, Rachel Ramsbottom and Alexis Bowling, said: “This lawsuit is about seeking justice not just against Bassnectar but against the corporations that cooperate in and help facilitate the abuses he is alleged to have committed.”\u003c/p>\n\u003cp>Ashton’s attorney Mitchell Schuster, \u003ca href=\"https://www.rollingstone.com/music/music-news/bassnectar-lawsuit-sexual-abuse-child-pornography-allegations-1151652/\" target=\"_blank\" rel=\"noopener noreferrer\">in a statement to \u003cem>Rolling Stone\u003c/em>\u003c/a>, called the accusations by Ramsbottom and Bowling “outrageous claims.” He also suggested they were “clearly designed for the media, rather than the courts.”\u003c/p>\n\u003cp>Ashton announced he was \u003ca href=\"https://www.rollingstone.com/music/music-news/bassnectar-sexual-misconduct-allegations-1024324/\" target=\"_blank\" rel=\"noopener noreferrer\">stepping back\u003c/a> from music nine months ago, after multiple allegations about his relationships with young women and girls emerged online. These allegations, along with screenshots of emails and DMs from Ashton, were primarily gathered and shared by the \u003ca href=\"https://www.instagram.com/evidenceagainstbassnectar/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">@EvidenceAgainstBassnectar\u003c/a> Instagram account that launched in June 2020.\u003c/p>\n\u003cp>Ramsbottom and Bowling say Ashton initiated contact with them both via Twitter, initially in the manner of a friend and mentor. Interactions, they say, later became suggestive. Both say they had sex with him while underage, and that he solicited explicit photos from them. Ramsbottom says that several years later, Ashton offered her money to stay quiet about their former relationship.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some of the details included in Ramsbottom and Bowling’s lawsuit had already been posted to the @EvidenceAgainstBassnectar Instagram page. Multiple stories shared by the account accuse Ashton of knowingly engaging in \u003ca href=\"https://www.instagram.com/p/CCAmhzFpdPJ/\" target=\"_blank\" rel=\"noopener noreferrer\">sex with minors\u003c/a>, listing “young girls” on \u003ca href=\"https://www.instagram.com/p/CCCBd6VpEmC/\" target=\"_blank\" rel=\"noopener noreferrer\">his rider\u003c/a>, targeting \u003ca href=\"https://www.instagram.com/p/CCEia1apHy6/\" target=\"_blank\" rel=\"noopener noreferrer\">underage girls\u003c/a> online, using methods of \u003ca href=\"https://www.instagram.com/p/CCHUtODJCgn/\" target=\"_blank\" rel=\"noopener noreferrer\">grooming\u003c/a> and \u003ca href=\"https://www.instagram.com/p/CCDV9JkpK-C/\" target=\"_blank\" rel=\"noopener noreferrer\">emotional manipulation\u003c/a>, trying to make girls \u003ca href=\"https://www.instagram.com/p/CB_5_54Jo7M/\" target=\"_blank\" rel=\"noopener noreferrer\">sign NDAs\u003c/a> and encouraging fans to \u003ca href=\"https://www.instagram.com/p/CB_7dy6JIfF/\" target=\"_blank\" rel=\"noopener noreferrer\">bully his critics\u003c/a>. One post claims that the rumors about his relationships with underage girls date all the way \u003ca href=\"https://www.instagram.com/p/CB_1A9FJuT3/\" target=\"_blank\" rel=\"noopener noreferrer\">back to 2010\u003c/a>.\u003c/p>\n\u003cp>Former Bassnectar collaborators \u003ca href=\"https://mimipagemusic.tumblr.com/post/624224339345244160/an-open-letter-to-lorin-ashton-bassnectar-from\" target=\"_blank\" rel=\"noopener noreferrer\">Mimi Page\u003c/a> and \u003ca href=\"https://www.instagram.com/p/CB_1v3LJRvZ/\" target=\"_blank\" rel=\"noopener noreferrer\">Miranda Hughes\u003c/a> have since publicly denounced Ashton. But @EvidenceAgainstBassnectar has also inspired some of his former lovers to write Tumblr essays detailing their own negative experiences with him. “\u003ca href=\"https://mynameislauren2020.tumblr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">My Name Is Lauren\u003c/a>” accuses Ashton of committing “psychological abuse for his own perverse pleasure” and “inappropriately target[ing] young women.” And the “\u003ca href=\"https://psychicprincesscreation.tumblr.com/post/623014073571885056/some-notesedits-made-77-bassnectar-told-me\" target=\"_blank\" rel=\"noopener noreferrer\">My EAB\u003c/a>” page claims that Ashton “DEFINITELY knows he’s doing something wrong, otherwise he wouldn’t be sharing that hush money with you, or asking you to hide and delete everything.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ashton, who rose to fame playing sets at Burning Man and EDM parties in San Francisco, has long publicly identified as anti-sexist. (In one private\u003ca href=\"https://www.instagram.com/p/CCDHkryJwZI/\" target=\"_blank\" rel=\"noopener noreferrer\"> message\u003c/a> shared by @EvidenceAgainstBassnectar, he describes himself as “an earnest feminist, and a total ally.”) In a \u003ca href=\"https://www.instagram.com/p/CCMigC_gkXL/\" target=\"_blank\" rel=\"noopener noreferrer\">statement shared in a private Facebook fan group\u003c/a> last June, the DJ firmly defended himself. “The rumors of sexual misconduct that are circulating about me are completely untrue,” he wrote. “I have never been involved in anything that was not absolutely, unequivocally consensual … I have always supported victims of abuse and assault. I have protected women my whole life and I would simply never harm a woman.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>[dropcap]F[/dropcap]elicia Rice’s husband, Jim Schoonover, often joked that the house they rented in the Santa Cruz mountains was really a one-bedroom apartment above her business, \u003ca href=\"https://movingpartspress.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Moving Parts Press\u003c/a>.\u003c/p>\n\u003cp>Over the 25 years the family lived there, the book artist, publisher and former UC Santa Cruz administrator filled the downstairs with three vintage letterpresses, 190 cases of metal type and her personal collection of limited-run poetry and art books she’d published since starting her business in 1977. Paintings by her parents, artists who worked closely with the apprentices of Frida Kahlo and Diego Rivera, were lovingly kept there, as well as irreplaceable ancestry records and family photos.\u003c/p>\n\u003cp>The Schoonover Rices’ younger son, Will, the Oakland music producer \u003ca href=\"https://waxroof.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Wax Roof\u003c/a>, grew up in that house from the age of seven, watching his mother juggle the many roles involved in turning a niche art form into a thriving business. (His older brother, Gabe, was already in his late teens when the family moved there from Santa Cruz proper.) Felicia’s creative hustle inspired Will’s path toward guitar, trumpet, piano and music production for stand-out Bay Area hip-hop artists like \u003ca href=\"https://www.kqed.org/arts/13869513/rexx-life-raj-father-figure-3-empire\" target=\"_blank\" rel=\"noopener noreferrer\">Rexx Life Raj\u003c/a> and Caleborate.\u003c/p>\n\u003cp>The Schoonover Rices’ woodsy home in the small, secluded community of Bonny Doon was sacred to three generations of creatives—but more than that, it held the memories that shaped them as people, as artists and as a family. And now it’s gone, along with the 1,000 structures burned in the CZU Lightning Complex Fire.\u003c/p>\n\u003cp>“The one thing that brings tears to my eyes is my community,” says Felicia. “My neighborhood is completely devastated. Everything is ash on the ground.”\u003c/p>\n\u003cfigure id=\"attachment_13885811\" class=\"wp-caption aligncenter\" style=\"max-width: 650px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885811\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/AfterFire-081920.jpg\" alt=\"\" width=\"650\" height=\"334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/AfterFire-081920.jpg 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/AfterFire-081920-160x82.jpg 160w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003cfigcaption class=\"wp-caption-text\">Bonny Doon after the fire. \u003ccite>(Moving Parts Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]B[/dropcap]onny Doon only had about 2,600 residents, and Will describes it as a self-reliant community where working-class people, university-affiliated intellectuals and hippie artists lived side by side. “When you have a place that’s founded on the concept of ‘you can be what you want to be here,’ you end up having a lot of different types of folks,” he says.\u003c/p>\n\u003cp>That open-mindedness is what drew Felicia to Santa Cruz in the ’70s, when she found a “mutually beneficial economy” of underground artists and poets who supported one another’s work and helped her printing business thrive. “W\u003cspan class=\"s1\">e were creating community and creating culture,” she says.\u003c/span>\u003c/p>\n\u003cp>Over the years, that tradition continued. Growing up in the ’90s and early 2000s, Will encountered many generous neighbors who took the time to teach him music or join in spontaneous jam sessions, for whom music was a way of life and not just a hobby.\u003c/p>\n\u003cp>“I don’t want to talk about it in the past tense like it’s gone,” he adds with a sadness in his voice.\u003c/p>\n\u003cp>He recalls a childhood of roaming the land, feeling a sense of freedom while running through the trees. The stories that stick out in his memory show the ways the community raised him to value creativity and generosity: When he was 13, playing guitar in the woods at night, a neighbor in a nearby house joined in on trumpet—without ever showing their face.\u003c/p>\n\u003cp>“To have someone just be there, ready, to have a musical conversation with me when I didn’t know what I was saying—and them never needing to be seen or acknowledged—that speaks a lot to the integrity of the place to me,” he says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When he was in high school, a UC Santa Cruz student taught him flamenco guitar for a few bucks an hour; a Turkish family introduced him to the collaborative improvisation of Romani music; and a Brazilian guitarist played in a hospital room while Will said his final goodbyes to a friend with cystic fibrosis.\u003c/p>\n\u003cp>In Bonny Doon, it was “normal to be in this musical exchange, with no purpose other than it makes life better,” Will says, reflecting that these experiences made him a better artist. Bonny Doon fed Felicia’s art, too; when she relocated her print shop there, the ink she mixed became more vivid, inspired by the local grass, leaves and branches interacting with the changing sky. The resulting illustrations made her poetry books come alive.\u003c/p>\n\u003cp>“You fall in love with that land, that land holds you,” says Will. “Being on a mountain with redwoods … and it goes all the way down to the ocean where there’s water as far as you can see, and there’s rivers running down into to that. … There’s this huge vastness of space that, when you lean into it, it embraces you.”\u003c/p>\n\u003cp>“And I think that’s why people tend to be more free-thinking or tend to embrace individuality,” he says. “You look out and you don’t see the hard lines of these systems of man that are either in a state of repair or in disrepair.”\u003c/p>\n\u003cp>[dropcap]W[/dropcap]hen the blaze spread into the Santa Cruz mountains in mid-August, Felicia was at her late parents’ home in Mendocino, taking a self-prescribed artist retreat and thinking about her next book, \u003cem>Justice & Injustices\u003c/em>—which, appropriately enough, deals with the intersecting issues of climate change, capitalism and oppression. (“From Trump through COVID through George Floyd and others, systemic racism, to what’s gonna happen next—wildfire is part of it, fire is part of it,” she says.) Jim had stayed behind, not wanting to take his chances traveling during the pandemic because of a health condition.\u003c/p>\n\u003cp>The summer was uncharacteristically hot for Bonny Doon; stretches of days had over-100-degree weather. When sparks ignited after an unlikely August lightning storm, wildfire season started early. Firefighting crews in California were stretched thin because the pandemic made the state’s strategy of deploying \u003ca href=\"https://www.kqed.org/science/1968728/shortage-of-inmate-firefighters-hampers-response-in-bay-area\" target=\"_blank\" rel=\"noopener noreferrer\">incarcerated firefighters\u003c/a> untenable. [aside postid='arts_13885195']\u003c/p>\n\u003cp>Neighbors in Bonny Doon assembled \u003ca href=\"https://www.kqed.org/news/11835949/most-beautiful-place-on-earth-the-citizen-firefighters-who-stayed-behind-to-save-their-santa-cruz-mountain-paradise\" target=\"_blank\" rel=\"noopener noreferrer\">volunteer fire crews\u003c/a>. One retired firefighter who lived nearby called Jim on Aug. 19 and told him that flames were approaching. He drove off at midnight, packing little more than important documents and clothes for him and Felicia.\u003c/p>\n\u003cp>The next night, the couple found out from neighbors that their house had burned to the ground along with nearly two dozen neighboring properties.\u003c/p>\n\u003cfigure id=\"attachment_13885812\" class=\"wp-caption aligncenter\" style=\"max-width: 650px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885812\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Felicia-at-work-in-BD_small.jpg\" alt=\"\" width=\"650\" height=\"488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Felicia-at-work-in-BD_small.jpg 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Felicia-at-work-in-BD_small-160x120.jpg 160w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003cfigcaption class=\"wp-caption-text\">Felicia Rice at work in Moving Parts Press. \u003ccite>(Moving Parts Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gone were floor-to-ceiling paintings by Ray Rice, Felicia’s father. Gone was an edition of a book by Miriam Rice, Felicia’s mother, who was best known for extracting a full color spectrum of natural dyes from mushrooms. (“That can be reprinted, so all is not lost,” Felicia sighs.)\u003c/p>\n\u003cp>A vast archive of Felicia’s artworks and collaborations burned too, including a book called \u003ca href=\"https://movingpartspress.com/publications/califas\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Califas: The Ancestral Journey/El Viaje Ancestral\u003c/em>\u003c/a>, a collaboration with five artists that folded out into an 18-foot, movable mural. Hand-bound copies—750 of them—were set to go out to K-12 and university classrooms, youth organizations, museums and libraries. A \u003ca href=\"https://movingpartspress.com/publications/latinx-chicanx-poetx-broadside-series\" target=\"_blank\" rel=\"noopener noreferrer\">broadside series\u003c/a> of queer Latinx poetry is mostly gone. And she lost 3/4 of a print run of a collaboration with environmental activist and art historian T.J. Demos, \u003ca href=\"https://movingpartspress.com/publications/necropolitics-of-extraction\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Necropolitics of Extraction\u003c/em>\u003c/a>—about capitalism’s exploitation of human labor and natural resources.\u003c/p>\n\u003cp>“I was just starting to sell them, and that’s heartbreaking because one book funds the next,” she says. There is a small silver lining, though: thanks to her supporters, Moving Parts Press recently raised enough on \u003ca href=\"https://www.gofundme.com/f/raise-moving-parts-press-from-the-ashes\" target=\"_blank\" rel=\"noopener noreferrer\">GoFundMe\u003c/a> to buy back crucial equipment. With the ongoing campaign, Felicia now hopes to raise enough—$75,000—to create a new printing studio in Mendocino.\u003c/p>\n\u003cp>[dropcap]T[/dropcap]oday, the CZU Lightning Complex Fire is just over 40% contained, and it may be weeks until it’s safe to drive 2,500 feet up the mountain on a narrow, two-lane road to assess the damage or find anything that may have survived the flames.\u003c/p>\n\u003cp>Because the Schoonover Rices were renters, they don’t have to deal with the fallout of calling insurance companies or deciding whether or not to rebuild. But they’re still grappling with the emotional loss of saying goodbye to a community that nurtured them for decades. Despite their success in the arts, Bonny Doon home prices were never attainable for the family. Before the fire, houses in the Santa Cruz mountains neared the $1 million mark. Those now displaced may not be able to come back.\u003c/p>\n\u003cp>“There’s a lot of people living out here that when they lose that [their home], it’s done for them,” Bonny Doon resident and volunteer firefighter Glen Hanson \u003ca href=\"https://www.kqed.org/news/11835949/most-beautiful-place-on-earth-the-citizen-firefighters-who-stayed-behind-to-save-their-santa-cruz-mountain-paradise\" target=\"_blank\" rel=\"noopener noreferrer\">told KQED\u003c/a> in August.\u003c/p>\n\u003cp>For Will, that loss has been difficult to put into words. “Something I’ve been mourning that’s hard to articulate is the concept of when you lose someone, you’re able to be who they were to you to other people and, in that way, keep their legacy alive,” he says. “When you lose a place, I’m left with the question of how you’re supposed to do that.”\u003c/p>\n\u003cp>For Felicia’s part, she’s getting back to the basics, figuring out her new routine in Mendocino and taking the rebuilding of Moving Parts Press step by step. But she knows the losses of her house and Moving Parts Press are emblematic of a larger reality: climate change is devastating people and communities. Along with destroying homes and livelihoods, wildfires take history and culture with them. She worries about how bad it will get before meaningful steps are taken. She wants to see our elected officials take serious action on climate change.\u003c/p>\n\u003cp>“Let’s not get cozy. Let’s not get comfortable. This isn’t a comfortable time. Guillermo Gomez-Peña says our job as an artist is to keep the wound open, to remind people of these realities,” she says.\u003c/p>\n\u003cp>“I would like political leaders not to get in office on the basis of the platitudes and reassurances they give, but on the basis of their policies and plans to address the real dangers and threats that are a part of our world.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">F\u003c/span>\u003c/p>\u003cp>elicia Rice’s husband, Jim Schoonover, often joked that the house they rented in the Santa Cruz mountains was really a one-bedroom apartment above her business, \u003ca href=\"https://movingpartspress.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Moving Parts Press\u003c/a>.\u003c/p>\n\u003cp>Over the 25 years the family lived there, the book artist, publisher and former UC Santa Cruz administrator filled the downstairs with three vintage letterpresses, 190 cases of metal type and her personal collection of limited-run poetry and art books she’d published since starting her business in 1977. Paintings by her parents, artists who worked closely with the apprentices of Frida Kahlo and Diego Rivera, were lovingly kept there, as well as irreplaceable ancestry records and family photos.\u003c/p>\n\u003cp>The Schoonover Rices’ younger son, Will, the Oakland music producer \u003ca href=\"https://waxroof.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Wax Roof\u003c/a>, grew up in that house from the age of seven, watching his mother juggle the many roles involved in turning a niche art form into a thriving business. (His older brother, Gabe, was already in his late teens when the family moved there from Santa Cruz proper.) Felicia’s creative hustle inspired Will’s path toward guitar, trumpet, piano and music production for stand-out Bay Area hip-hop artists like \u003ca href=\"https://www.kqed.org/arts/13869513/rexx-life-raj-father-figure-3-empire\" target=\"_blank\" rel=\"noopener noreferrer\">Rexx Life Raj\u003c/a> and Caleborate.\u003c/p>\n\u003cp>The Schoonover Rices’ woodsy home in the small, secluded community of Bonny Doon was sacred to three generations of creatives—but more than that, it held the memories that shaped them as people, as artists and as a family. And now it’s gone, along with the 1,000 structures burned in the CZU Lightning Complex Fire.\u003c/p>\n\u003cp>“The one thing that brings tears to my eyes is my community,” says Felicia. “My neighborhood is completely devastated. Everything is ash on the ground.”\u003c/p>\n\u003cfigure id=\"attachment_13885811\" class=\"wp-caption aligncenter\" style=\"max-width: 650px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885811\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/AfterFire-081920.jpg\" alt=\"\" width=\"650\" height=\"334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/AfterFire-081920.jpg 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/AfterFire-081920-160x82.jpg 160w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003cfigcaption class=\"wp-caption-text\">Bonny Doon after the fire. \u003ccite>(Moving Parts Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">B\u003c/span>\u003c/p>\u003cp>onny Doon only had about 2,600 residents, and Will describes it as a self-reliant community where working-class people, university-affiliated intellectuals and hippie artists lived side by side. “When you have a place that’s founded on the concept of ‘you can be what you want to be here,’ you end up having a lot of different types of folks,” he says.\u003c/p>\n\u003cp>That open-mindedness is what drew Felicia to Santa Cruz in the ’70s, when she found a “mutually beneficial economy” of underground artists and poets who supported one another’s work and helped her printing business thrive. “W\u003cspan class=\"s1\">e were creating community and creating culture,” she says.\u003c/span>\u003c/p>\n\u003cp>Over the years, that tradition continued. Growing up in the ’90s and early 2000s, Will encountered many generous neighbors who took the time to teach him music or join in spontaneous jam sessions, for whom music was a way of life and not just a hobby.\u003c/p>\n\u003cp>“I don’t want to talk about it in the past tense like it’s gone,” he adds with a sadness in his voice.\u003c/p>\n\u003cp>He recalls a childhood of roaming the land, feeling a sense of freedom while running through the trees. The stories that stick out in his memory show the ways the community raised him to value creativity and generosity: When he was 13, playing guitar in the woods at night, a neighbor in a nearby house joined in on trumpet—without ever showing their face.\u003c/p>\n\u003cp>“To have someone just be there, ready, to have a musical conversation with me when I didn’t know what I was saying—and them never needing to be seen or acknowledged—that speaks a lot to the integrity of the place to me,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When he was in high school, a UC Santa Cruz student taught him flamenco guitar for a few bucks an hour; a Turkish family introduced him to the collaborative improvisation of Romani music; and a Brazilian guitarist played in a hospital room while Will said his final goodbyes to a friend with cystic fibrosis.\u003c/p>\n\u003cp>In Bonny Doon, it was “normal to be in this musical exchange, with no purpose other than it makes life better,” Will says, reflecting that these experiences made him a better artist. Bonny Doon fed Felicia’s art, too; when she relocated her print shop there, the ink she mixed became more vivid, inspired by the local grass, leaves and branches interacting with the changing sky. The resulting illustrations made her poetry books come alive.\u003c/p>\n\u003cp>“You fall in love with that land, that land holds you,” says Will. “Being on a mountain with redwoods … and it goes all the way down to the ocean where there’s water as far as you can see, and there’s rivers running down into to that. … There’s this huge vastness of space that, when you lean into it, it embraces you.”\u003c/p>\n\u003cp>“And I think that’s why people tend to be more free-thinking or tend to embrace individuality,” he says. “You look out and you don’t see the hard lines of these systems of man that are either in a state of repair or in disrepair.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">W\u003c/span>\u003c/p>\u003cp>hen the blaze spread into the Santa Cruz mountains in mid-August, Felicia was at her late parents’ home in Mendocino, taking a self-prescribed artist retreat and thinking about her next book, \u003cem>Justice & Injustices\u003c/em>—which, appropriately enough, deals with the intersecting issues of climate change, capitalism and oppression. (“From Trump through COVID through George Floyd and others, systemic racism, to what’s gonna happen next—wildfire is part of it, fire is part of it,” she says.) Jim had stayed behind, not wanting to take his chances traveling during the pandemic because of a health condition.\u003c/p>\n\u003cp>The summer was uncharacteristically hot for Bonny Doon; stretches of days had over-100-degree weather. When sparks ignited after an unlikely August lightning storm, wildfire season started early. Firefighting crews in California were stretched thin because the pandemic made the state’s strategy of deploying \u003ca href=\"https://www.kqed.org/science/1968728/shortage-of-inmate-firefighters-hampers-response-in-bay-area\" target=\"_blank\" rel=\"noopener noreferrer\">incarcerated firefighters\u003c/a> untenable. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Neighbors in Bonny Doon assembled \u003ca href=\"https://www.kqed.org/news/11835949/most-beautiful-place-on-earth-the-citizen-firefighters-who-stayed-behind-to-save-their-santa-cruz-mountain-paradise\" target=\"_blank\" rel=\"noopener noreferrer\">volunteer fire crews\u003c/a>. One retired firefighter who lived nearby called Jim on Aug. 19 and told him that flames were approaching. He drove off at midnight, packing little more than important documents and clothes for him and Felicia.\u003c/p>\n\u003cp>The next night, the couple found out from neighbors that their house had burned to the ground along with nearly two dozen neighboring properties.\u003c/p>\n\u003cfigure id=\"attachment_13885812\" class=\"wp-caption aligncenter\" style=\"max-width: 650px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13885812\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Felicia-at-work-in-BD_small.jpg\" alt=\"\" width=\"650\" height=\"488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Felicia-at-work-in-BD_small.jpg 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Felicia-at-work-in-BD_small-160x120.jpg 160w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003cfigcaption class=\"wp-caption-text\">Felicia Rice at work in Moving Parts Press. \u003ccite>(Moving Parts Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gone were floor-to-ceiling paintings by Ray Rice, Felicia’s father. Gone was an edition of a book by Miriam Rice, Felicia’s mother, who was best known for extracting a full color spectrum of natural dyes from mushrooms. (“That can be reprinted, so all is not lost,” Felicia sighs.)\u003c/p>\n\u003cp>A vast archive of Felicia’s artworks and collaborations burned too, including a book called \u003ca href=\"https://movingpartspress.com/publications/califas\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Califas: The Ancestral Journey/El Viaje Ancestral\u003c/em>\u003c/a>, a collaboration with five artists that folded out into an 18-foot, movable mural. Hand-bound copies—750 of them—were set to go out to K-12 and university classrooms, youth organizations, museums and libraries. A \u003ca href=\"https://movingpartspress.com/publications/latinx-chicanx-poetx-broadside-series\" target=\"_blank\" rel=\"noopener noreferrer\">broadside series\u003c/a> of queer Latinx poetry is mostly gone. And she lost 3/4 of a print run of a collaboration with environmental activist and art historian T.J. Demos, \u003ca href=\"https://movingpartspress.com/publications/necropolitics-of-extraction\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Necropolitics of Extraction\u003c/em>\u003c/a>—about capitalism’s exploitation of human labor and natural resources.\u003c/p>\n\u003cp>“I was just starting to sell them, and that’s heartbreaking because one book funds the next,” she says. There is a small silver lining, though: thanks to her supporters, Moving Parts Press recently raised enough on \u003ca href=\"https://www.gofundme.com/f/raise-moving-parts-press-from-the-ashes\" target=\"_blank\" rel=\"noopener noreferrer\">GoFundMe\u003c/a> to buy back crucial equipment. With the ongoing campaign, Felicia now hopes to raise enough—$75,000—to create a new printing studio in Mendocino.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>oday, the CZU Lightning Complex Fire is just over 40% contained, and it may be weeks until it’s safe to drive 2,500 feet up the mountain on a narrow, two-lane road to assess the damage or find anything that may have survived the flames.\u003c/p>\n\u003cp>Because the Schoonover Rices were renters, they don’t have to deal with the fallout of calling insurance companies or deciding whether or not to rebuild. But they’re still grappling with the emotional loss of saying goodbye to a community that nurtured them for decades. Despite their success in the arts, Bonny Doon home prices were never attainable for the family. Before the fire, houses in the Santa Cruz mountains neared the $1 million mark. Those now displaced may not be able to come back.\u003c/p>\n\u003cp>“There’s a lot of people living out here that when they lose that [their home], it’s done for them,” Bonny Doon resident and volunteer firefighter Glen Hanson \u003ca href=\"https://www.kqed.org/news/11835949/most-beautiful-place-on-earth-the-citizen-firefighters-who-stayed-behind-to-save-their-santa-cruz-mountain-paradise\" target=\"_blank\" rel=\"noopener noreferrer\">told KQED\u003c/a> in August.\u003c/p>\n\u003cp>For Will, that loss has been difficult to put into words. “Something I’ve been mourning that’s hard to articulate is the concept of when you lose someone, you’re able to be who they were to you to other people and, in that way, keep their legacy alive,” he says. “When you lose a place, I’m left with the question of how you’re supposed to do that.”\u003c/p>\n\u003cp>For Felicia’s part, she’s getting back to the basics, figuring out her new routine in Mendocino and taking the rebuilding of Moving Parts Press step by step. But she knows the losses of her house and Moving Parts Press are emblematic of a larger reality: climate change is devastating people and communities. Along with destroying homes and livelihoods, wildfires take history and culture with them. She worries about how bad it will get before meaningful steps are taken. She wants to see our elected officials take serious action on climate change.\u003c/p>\n\u003cp>“Let’s not get cozy. Let’s not get comfortable. This isn’t a comfortable time. Guillermo Gomez-Peña says our job as an artist is to keep the wound open, to remind people of these realities,” she says.\u003c/p>\n\u003cp>“I would like political leaders not to get in office on the basis of the platitudes and reassurances they give, but on the basis of their policies and plans to address the real dangers and threats that are a part of our world.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Regardless of whether you like anything else about the FX sci fi thriller \u003ca href=\"https://www.fxnetworks.com/shows/devs\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Devs\u003c/em>\u003c/a>, its cold, ethereal, luminous vision of the San Francisco Bay Area in the near future captures the look and feel of our lives right now. From a strictly visual perspective, \u003cem>Devs\u003c/em> is a work of art.\u003c/p>\n\u003cp>Writer/director \u003ca href=\"https://en.wikipedia.org/wiki/Alex_Garland\" target=\"_blank\" rel=\"noopener noreferrer\">Alex Garland\u003c/a> (\u003cem>Ex Machina\u003c/em>, \u003cem>Annihilation\u003c/em>) has a degree in art history, and with this TV series, he reconstituted a team with a history of producing visually striking work: production designer \u003ca href=\"https://gersh.com/production/clients/mark-digby/\" target=\"_blank\" rel=\"noopener noreferrer\">Mark Digby\u003c/a>, set decorator \u003ca href=\"http://www.michelle-day.com\" target=\"_blank\" rel=\"noopener noreferrer\">Michelle Day\u003c/a>, cinematographer \u003ca href=\"https://luxartists.net/rob-hardy/\" target=\"_blank\" rel=\"noopener noreferrer\">Rob Hardy\u003c/a> and visual effects supervisor \u003ca href=\"http://www.andrew-whitehurst.net\" target=\"_blank\" rel=\"noopener noreferrer\">Andrew Whitehurst\u003c/a>. Together, they’ve created an ever so slightly fictional take on Silicon Valley, one drenched in light, color and contrast.\u003c/p>\n\u003cp>Naturally, there are establishing shots of San Francisco: foggy, silver, washed out, when it’s not glowing like a silicon chip at night. The series begins in the white, washed out apartment of software engineer \u003ca href=\"https://www.instagram.com/p/B9DGqaVH7jJ/\" target=\"_blank\" rel=\"noopener noreferrer\">Lily\u003c/a> (Sonoya Mizuno) and her boyfriend Sergei (Karl Glusman). Both live in the city and ride a company shuttle to work far, far away in some unnamed suburb to the south.\u003c/p>\n\u003cp>Amaya, the cultish tech company where they work, is set on a campus tucked inside a grove of redwoods — in real life \u003ca href=\"https://www.thecinemaholic.com/devs-filming-locations/\" target=\"_blank\" rel=\"noopener noreferrer\">shot at UC Santa Cruz\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13876669\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876669\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut.jpg\" alt=\"The crew of the FX TV series Devs shoots a scene on the campus of UC Santa Cruz\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut-1020x680.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crew of the FX TV series Devs shoots a scene on the campus of UC Santa Cruz \u003ccite>(Courtesy of Raymond Liu/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why UC Santa Cruz? For a start, it was available. “\u003cb>\u003c/b>We would never be able to use the real [tech campuses], because they’re always in use by the companies. We needed somewhere that we were going to be for several months, shooting in and out, coming back,” said Digby, who admits the \u003cem>Devs\u003c/em> team was initially looking for a modern campus full of glass and steel, more akin to what you see in downtown San Francisco today.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But as with any visual production team, they adjusted to account for practical constraints and on-site inspiration. “I\u003cb>\u003c/b>t was a little bit out of left field,” Digby said of the slightly older, Brutalist buildings that dominate the UC Santa Cruz campus. Their characteristically massive, monolithic appearance, though, won the team over. “The minute we stepped foot in the area, we fell in love.”\u003c/p>\n\u003cp>So it was McHenry Library, Quarry Plaza and Science Hill provided the exteriors for Amaya’s public-facing office complex in \u003cem>Devs\u003c/em>. And from the inside, you could be looking at any Silicon Valley open floor office plan, featuring floor-to-ceiling glass and sweetly nerdy Millenials tapping away intently at their computer stations.\u003c/p>\n\u003cp>In this case, they look out on those bucolic, green redwoods. “\u003cb>\u003c/b>The redwoods embed you in California and the Bay Area,” Digby said.\u003c/p>\n\u003cp>Add a monumental, pop art statue of a little girl incongruously towering over the campus in a manner not unlike Robert Arneson’s \u003cem>Eggheads\u003c/em> at \u003ca href=\"https://www.kqed.org/arts/12413395/the-10-shocking-toilets-that-helped-put-uc-davis-on-the-art-world-map\" target=\"_blank\" rel=\"noopener noreferrer\">UC Davis\u003c/a>, and you have \u003cem>foreshadowing\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13876668\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876668\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/DEVS_SET_033.jpg\" alt=\"The quantum supercomputer at the heart of Devs, an eight episode FX series that streaming on Hulu in March.\" width=\"1600\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DEVS_SET_033.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DEVS_SET_033-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DEVS_SET_033-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DEVS_SET_033-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DEVS_SET_033-1020x680.jpg 1020w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">The quantum supercomputer at the heart of Devs, an eight episode FX series that streaming on Hulu in March. \u003ccite>(Courtesy of Mia Mizuno/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What’s Inside the Box\u003c/h2>\n\u003cp>Because, of course, all is not well in this Garden of Eden. The company is running a secret operation that the world and most of its employees know nothing about.\u003c/p>\n\u003cp>Set off from the other buildings in a nearby meadow, there sits a computer-generated, concrete ziggurat that looks like a bunker or utility building from the World War II era. “It’s supposed to detract from any interest,” said Digby, “but it’s supposed to have scale. Also, from the outside, it’s supposed to juxtapose with what’s inside. W\u003cb>\u003c/b>hat’s inside is supposed to take your breath away.”\u003c/p>\n\u003cp>Inside sits a shimmering, gold jewel box of an office that is the heart of \u003cem>Devs\u003c/em>. Constructed and shot in a U.K. sound studio, it’s also an unabashed temple to technology as it might be in the near future. At the center of the cube, encased in glass, floats the innards of a quantum supercomputer that looks a lot like, for example, IBM’s Q System One.\u003c/p>\n\u003cfigure id=\"attachment_13876667\" class=\"wp-caption aligncenter\" style=\"max-width: 1919px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876667\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut.jpeg\" alt=\"The quantum supercomputer at the center of the FX TV series Devs looks a lot like IBM's Q System One.\" width=\"1919\" height=\"2027\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut.jpeg 1919w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut-160x169.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut-800x845.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut-768x811.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut-1020x1077.jpeg 1020w\" sizes=\"(max-width: 1919px) 100vw, 1919px\">\u003cfigcaption class=\"wp-caption-text\">The quantum supercomputer at the center of the FX TV series Devs looks a lot like IBM’s Q System One. \u003ccite>(Courtesy of David Becker/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Which was the idea.\u003c/p>\n\u003cp>“They are amazing pieces of art. Once they’re taken out of their shields, they are these gold and glass and aluminum and silver masterpieces. You know, the machines that we use, the insides of computers, are absolutely beautiful. It can be Awesome!-inspiring. It’s a character in itself,” Digby said.\u003c/p>\n\u003cp>The supercomputer is also at the center of the \u003cem>Devs\u003c/em> story. Much as my first impression of the space was of the lobby of a boutique hotel, or a futuristic, black, gold and glass inversion of an Apple store, Digby explained that science inspired the visual look of the supercomputer’s home.\u003c/p>\n\u003cp>Sound waves, light waves, electromagnetic waves — nothing will be able to penetrate this bunker encased in concrete and lined with lead and gold. Or gold leaf: the team applied hundreds of squares of gold leaf to the walls, using a recurring fractal pattern called a \u003ca href=\"https://en.wikipedia.org/wiki/Menger_sponge\" target=\"_blank\" rel=\"noopener noreferrer\">Menger sponge\u003c/a>, a visual representation of the idea of boxes within boxes within boxes.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=Fp9LMsI6uJ8]It’s a gilded, airless, isolated space that also looks and feels quasi-religious. The story circles around a metaphysical topic obsessed about in classic, \u003ca href=\"https://www.kqed.org/arts/13876008/devs-explores-modern-tech-driven-cultural-alienation-in-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">over-heated\u003c/a> sci fi fashion by Amaya’s multibillionaire founder, Forest (Nick Offerman).\u003c/p>\n\u003cp>Does knowing the future allows us to change it to something more akin to our liking? Or are we compelled to act out the future laid before us in the magic mirror by artificial intelligence we built? It’s the old free will versus determinism debate some of you will remember from university philosophy classes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Moody, self-doubting, passively trapped in a gilded box of our own making: sounds like Silicon Valley in 2020. Looks like it, too.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Regardless of whether you like anything else about the FX sci fi thriller \u003ca href=\"https://www.fxnetworks.com/shows/devs\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Devs\u003c/em>\u003c/a>, its cold, ethereal, luminous vision of the San Francisco Bay Area in the near future captures the look and feel of our lives right now. From a strictly visual perspective, \u003cem>Devs\u003c/em> is a work of art.\u003c/p>\n\u003cp>Writer/director \u003ca href=\"https://en.wikipedia.org/wiki/Alex_Garland\" target=\"_blank\" rel=\"noopener noreferrer\">Alex Garland\u003c/a> (\u003cem>Ex Machina\u003c/em>, \u003cem>Annihilation\u003c/em>) has a degree in art history, and with this TV series, he reconstituted a team with a history of producing visually striking work: production designer \u003ca href=\"https://gersh.com/production/clients/mark-digby/\" target=\"_blank\" rel=\"noopener noreferrer\">Mark Digby\u003c/a>, set decorator \u003ca href=\"http://www.michelle-day.com\" target=\"_blank\" rel=\"noopener noreferrer\">Michelle Day\u003c/a>, cinematographer \u003ca href=\"https://luxartists.net/rob-hardy/\" target=\"_blank\" rel=\"noopener noreferrer\">Rob Hardy\u003c/a> and visual effects supervisor \u003ca href=\"http://www.andrew-whitehurst.net\" target=\"_blank\" rel=\"noopener noreferrer\">Andrew Whitehurst\u003c/a>. Together, they’ve created an ever so slightly fictional take on Silicon Valley, one drenched in light, color and contrast.\u003c/p>\n\u003cp>Naturally, there are establishing shots of San Francisco: foggy, silver, washed out, when it’s not glowing like a silicon chip at night. The series begins in the white, washed out apartment of software engineer \u003ca href=\"https://www.instagram.com/p/B9DGqaVH7jJ/\" target=\"_blank\" rel=\"noopener noreferrer\">Lily\u003c/a> (Sonoya Mizuno) and her boyfriend Sergei (Karl Glusman). Both live in the city and ride a company shuttle to work far, far away in some unnamed suburb to the south.\u003c/p>\n\u003cp>Amaya, the cultish tech company where they work, is set on a campus tucked inside a grove of redwoods — in real life \u003ca href=\"https://www.thecinemaholic.com/devs-filming-locations/\" target=\"_blank\" rel=\"noopener noreferrer\">shot at UC Santa Cruz\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13876669\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876669\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut.jpg\" alt=\"The crew of the FX TV series Devs shoots a scene on the campus of UC Santa Cruz\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42015_DEVS_101_0059-qut-1020x680.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The crew of the FX TV series Devs shoots a scene on the campus of UC Santa Cruz \u003ccite>(Courtesy of Raymond Liu/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why UC Santa Cruz? For a start, it was available. “\u003cb>\u003c/b>We would never be able to use the real [tech campuses], because they’re always in use by the companies. We needed somewhere that we were going to be for several months, shooting in and out, coming back,” said Digby, who admits the \u003cem>Devs\u003c/em> team was initially looking for a modern campus full of glass and steel, more akin to what you see in downtown San Francisco today.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But as with any visual production team, they adjusted to account for practical constraints and on-site inspiration. “I\u003cb>\u003c/b>t was a little bit out of left field,” Digby said of the slightly older, Brutalist buildings that dominate the UC Santa Cruz campus. Their characteristically massive, monolithic appearance, though, won the team over. “The minute we stepped foot in the area, we fell in love.”\u003c/p>\n\u003cp>So it was McHenry Library, Quarry Plaza and Science Hill provided the exteriors for Amaya’s public-facing office complex in \u003cem>Devs\u003c/em>. And from the inside, you could be looking at any Silicon Valley open floor office plan, featuring floor-to-ceiling glass and sweetly nerdy Millenials tapping away intently at their computer stations.\u003c/p>\n\u003cp>In this case, they look out on those bucolic, green redwoods. “\u003cb>\u003c/b>The redwoods embed you in California and the Bay Area,” Digby said.\u003c/p>\n\u003cp>Add a monumental, pop art statue of a little girl incongruously towering over the campus in a manner not unlike Robert Arneson’s \u003cem>Eggheads\u003c/em> at \u003ca href=\"https://www.kqed.org/arts/12413395/the-10-shocking-toilets-that-helped-put-uc-davis-on-the-art-world-map\" target=\"_blank\" rel=\"noopener noreferrer\">UC Davis\u003c/a>, and you have \u003cem>foreshadowing\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13876668\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876668\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/DEVS_SET_033.jpg\" alt=\"The quantum supercomputer at the heart of Devs, an eight episode FX series that streaming on Hulu in March.\" width=\"1600\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DEVS_SET_033.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DEVS_SET_033-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DEVS_SET_033-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DEVS_SET_033-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DEVS_SET_033-1020x680.jpg 1020w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">The quantum supercomputer at the heart of Devs, an eight episode FX series that streaming on Hulu in March. \u003ccite>(Courtesy of Mia Mizuno/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>What’s Inside the Box\u003c/h2>\n\u003cp>Because, of course, all is not well in this Garden of Eden. The company is running a secret operation that the world and most of its employees know nothing about.\u003c/p>\n\u003cp>Set off from the other buildings in a nearby meadow, there sits a computer-generated, concrete ziggurat that looks like a bunker or utility building from the World War II era. “It’s supposed to detract from any interest,” said Digby, “but it’s supposed to have scale. Also, from the outside, it’s supposed to juxtapose with what’s inside. W\u003cb>\u003c/b>hat’s inside is supposed to take your breath away.”\u003c/p>\n\u003cp>Inside sits a shimmering, gold jewel box of an office that is the heart of \u003cem>Devs\u003c/em>. Constructed and shot in a U.K. sound studio, it’s also an unabashed temple to technology as it might be in the near future. At the center of the cube, encased in glass, floats the innards of a quantum supercomputer that looks a lot like, for example, IBM’s Q System One.\u003c/p>\n\u003cfigure id=\"attachment_13876667\" class=\"wp-caption aligncenter\" style=\"max-width: 1919px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13876667\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut.jpeg\" alt=\"The quantum supercomputer at the center of the FX TV series Devs looks a lot like IBM's Q System One.\" width=\"1919\" height=\"2027\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut.jpeg 1919w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut-160x169.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut-800x845.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut-768x811.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/RS42014_GettyImages-1091456252-qut-1020x1077.jpeg 1020w\" sizes=\"(max-width: 1919px) 100vw, 1919px\">\u003cfigcaption class=\"wp-caption-text\">The quantum supercomputer at the center of the FX TV series Devs looks a lot like IBM’s Q System One. \u003ccite>(Courtesy of David Becker/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Which was the idea.\u003c/p>\n\u003cp>“They are amazing pieces of art. Once they’re taken out of their shields, they are these gold and glass and aluminum and silver masterpieces. You know, the machines that we use, the insides of computers, are absolutely beautiful. It can be Awesome!-inspiring. It’s a character in itself,” Digby said.\u003c/p>\n\u003cp>The supercomputer is also at the center of the \u003cem>Devs\u003c/em> story. Much as my first impression of the space was of the lobby of a boutique hotel, or a futuristic, black, gold and glass inversion of an Apple store, Digby explained that science inspired the visual look of the supercomputer’s home.\u003c/p>\n\u003cp>Sound waves, light waves, electromagnetic waves — nothing will be able to penetrate this bunker encased in concrete and lined with lead and gold. Or gold leaf: the team applied hundreds of squares of gold leaf to the walls, using a recurring fractal pattern called a \u003ca href=\"https://en.wikipedia.org/wiki/Menger_sponge\" target=\"_blank\" rel=\"noopener noreferrer\">Menger sponge\u003c/a>, a visual representation of the idea of boxes within boxes within boxes.\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/Fp9LMsI6uJ8'\n title='//www.youtube.com/embed/Fp9LMsI6uJ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>It’s a gilded, airless, isolated space that also looks and feels quasi-religious. The story circles around a metaphysical topic obsessed about in classic, \u003ca href=\"https://www.kqed.org/arts/13876008/devs-explores-modern-tech-driven-cultural-alienation-in-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">over-heated\u003c/a> sci fi fashion by Amaya’s multibillionaire founder, Forest (Nick Offerman).\u003c/p>\n\u003cp>Does knowing the future allows us to change it to something more akin to our liking? Or are we compelled to act out the future laid before us in the magic mirror by artificial intelligence we built? It’s the old free will versus determinism debate some of you will remember from university philosophy classes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Moody, self-doubting, passively trapped in a gilded box of our own making: sounds like Silicon Valley in 2020. Looks like it, too.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>With the holidays behind us, what’s your plan to stay in touch with the seniors in your family? Do you have a plan?\u003c/p>\n\u003cp>Before you answer, make a plan to visit \u003ca href=\"https://santacruzmah.org/exhibitions/were-still-here\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>We’re Still Here \u003c/em>\u003c/a>at the Santa Cruz Museum of Art and History through January 12. It’s not an easy set of stories to confront, but there’s no more important set of stories to hear, in terms of confronting the quality of our collective humanity, or lack thereof.\u003c/p>\n\u003cp>\u003cem>We’re Still Here: Stories of Seniors and Social Isolation\u003c/em> is the result of months of collaboration with seniors in Santa Cruz County. The artists who contributed did so after pitching and refining projects with a \u003ca href=\"https://santacruzmah.org/creative-community-committee\" target=\"_blank\" rel=\"noopener noreferrer\">committee\u003c/a> of 186 seniors and advocates. A similar approach worked to moving effect at the Santa Cruz Museum of Art and History in 2017 with the exhibition \u003ca href=\"https://www.kqed.org/arts/13810966/former-foster-youth-change-narrative\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Lost Childhoods\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>As a result, \u003cem>We’re Still Here\u003c/em> sets front and center photographs seniors took themselves, as well as stories they told about themselves. The artists essentially served as conduits to deliver a compelling, urgent argument to respond with compassion to the growing number of senior citizens in our midst.\u003c/p>\n\u003cp>Santa Cruz artist \u003ca href=\"https://www.beyondtheportrait.com\" target=\"_blank\" rel=\"noopener noreferrer\">Gina Orlando\u003c/a> loaned cameras to seven local seniors, ages 60 to 86, to share their daily experiences with social isolation. “Viewers really get an inside look at the personal life of a senior,” Orlando said.\u003c/p>\n\u003cfigure id=\"attachment_13872355\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872355\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/RS40625_Were-Still-Here-GOrlando-3-qut.jpg\" alt=\""Having to Choose/Tener que Elegir" tells the story of 69 year-old Denise a senior profiled by Santa Cruz artist Gina Orlando for the exhibit We're Still Here at the Santa Cruz Museum of Art and History.\" width=\"1920\" height=\"1559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40625_Were-Still-Here-GOrlando-3-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40625_Were-Still-Here-GOrlando-3-qut-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40625_Were-Still-Here-GOrlando-3-qut-800x650.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40625_Were-Still-Here-GOrlando-3-qut-768x624.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40625_Were-Still-Here-GOrlando-3-qut-1020x828.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40625_Were-Still-Here-GOrlando-3-qut-1200x974.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">“Having to Choose/Tener que Elegir” tells the story of 69 year-old Denise a senior profiled by Santa Cruz artist Gina Orlando for the exhibit We’re Still Here at the Santa Cruz Museum of Art and History. \u003ccite>(Courtesy of Gina Orlando)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003c/b>The result in each case was a black and white profile Orlando produced, set alongside a collage of six smaller, color photos produced by the profile subject. Underneath each photo, a short caption describes various causes of isolation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There is often more than one cause. Maybe expensive medical problems are leading to tight times financially, and it’s just too expensive to go out for anything like meals or entertainment with friends. Maybe most or all of their close friends and family have died. Maybe family members are still alive, but too distant geographically (or emotionally) to provide much support.\u003c/p>\n\u003cp>\u003cb>\u003c/b>Think about that as you reflect on the fact that, a\u003cspan data-offset-key=\"8s1nk-0-0\">ccording to \u003ca href=\"https://www.mercurynews.com/2019/05/27/californias-growing-senior-population-by-the-numbers/\" target=\"_blank\" rel=\"noopener noreferrer\">state projections\u003c/a>, \u003c/span>more than 20 percent of the state’s residents will be seniors within this coming decade. That’s right: by 2030, more than nine million Californians will be over the age of 65.\u003c/p>\n\u003cp>Orlando said she interviewed many more than the individuals she ended up profiling for the exhibition. In particular, she was struck by how many people she talked to who felt abandoned by their children, but afraid to alienate them further by going public with their grief. “It was just heartbreaking to hear these stories about, you know, getting fancy gifts [for holidays or birthdays] and feeling like that was going to be ‘enough to keep mom quiet for the year.’ That’s how they took it. I\u003cb>\u003c/b>t’s really tragic.”\u003c/p>\n\u003cp>Santa Cruz artist \u003ca href=\"https://modes.io\" target=\"_blank\" rel=\"noopener noreferrer\">Wes Modes\u003c/a> had a different experience, in part because local senior support organizations put him in touch with active, well-connected people.\u003c/p>\n\u003cp>“A lot of the people I talked to were not particularly isolated themselves, but had lots to say about how to stay engaged. And those that found ways to be of service in some way were the people who seemed the happiest, and the most vital,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13872356\" class=\"wp-caption aligncenter\" style=\"max-width: 1152px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872356\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/DSC_3590.jpg\" alt=\"A visitor to the exhibit We're Still Here listens to a senior recorded by Santa Cruz artist Wes Modes at the Santa Cruz Museum of Art & History\" width=\"1152\" height=\"768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/DSC_3590.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/DSC_3590-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/DSC_3590-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/DSC_3590-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/DSC_3590-1020x680.jpg 1020w\" sizes=\"(max-width: 1152px) 100vw, 1152px\">\u003cfigcaption class=\"wp-caption-text\">A visitor to the exhibit We’re Still Here listens to a senior recorded by Santa Cruz artist Wes Modes at the Santa Cruz Museum of Art & History \u003ccite>(Courtesy of the Santa Cruz Museum of Art & History)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This reporter can confirm that the most mutually satisfying conversations with elders often involve a request for help. What was that recipe again? How would you resolve this situation I’m facing at work? Could you help me reach out to this mutual friend in need?\u003c/p>\n\u003cp>In the exhibit, you can pick up a phone on the wall to hear audio recordings of people like Kathy Cowan, an English instructor at Cabrillo College. She told Modes, “I have several students in their 40s and 50s now who have been so kind. They come and visit me or take me to lunch. You know, they still care about me.”\u003c/p>\n\u003cp>\u003cb>\u003c/b>Modes said a lot of the people he talked to found solidarity and community with other seniors, as well as family and people they used to work with or for.\u003c/p>\n\u003cp>“Seniors can be a light for what’s coming ahead,” Bonnie Brenwhite told him. “We show all these qualities that you don’t always have in your youth, like resiliency and a form of leadership that’s based on overcoming things.”\u003c/p>\n\u003cp>As you walk out of the exhibition, the last wall offers visitors 45 ideas printed on small business cards, ranging from “Share your home with an older adult,” to “Volunteer at an LGBTQ Senior Luncheon.” You probably don’t need an action card to remind you of more basic strategies, like picking up the phone and calling your mother.\u003c/p>\n\u003cfigure id=\"attachment_13872357\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872357\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/RS40624_Were-Still-Here-GOrlando-2-qut.jpg\" alt=\"Pick a card, any card. \" width=\"1920\" height=\"1565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40624_Were-Still-Here-GOrlando-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40624_Were-Still-Here-GOrlando-2-qut-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40624_Were-Still-Here-GOrlando-2-qut-800x652.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40624_Were-Still-Here-GOrlando-2-qut-768x626.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40624_Were-Still-Here-GOrlando-2-qut-1020x831.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40624_Were-Still-Here-GOrlando-2-qut-1200x978.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pick a card, any card. \u003ccite>(Courtesy of Gina Orlando)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Modes takes issue with the idea that personal effort alone, whether from friends, family or strangers, will significantly improve the lives of lonely seniors in our society. Not when we’re so obsessed with defining people based on their job titles and financial wherewithal, or lack thereof.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“We should absolutely connect with those people in our lives who are elders. But at the same time, we should work to change a system that prioritizes people based on how productive they are. I think that we can start broadening our concept of what’s useful, \u003cem>who’s\u003c/em> useful. Maybe we need to look harder at a system that monetizes human value,” he argued.\u003c/p>\n\u003cp>It’s an idea worth spreading. After January 12th, \u003cem>We’re Still Here\u003c/em> heads out on tour to Marin, Sonoma, and San Francisco Counties.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>We’re Still Here: Stories of Seniors and Social Isolation\u003c/strong> runs through January 12, 2020 at the Santa Cruz Museum of Art and History. Seniors get in free, of course. For more info, click \u003ca href=\"https://santacruzmah.org/exhibitions/were-still-here\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With the holidays behind us, what’s your plan to stay in touch with the seniors in your family? Do you have a plan?\u003c/p>\n\u003cp>Before you answer, make a plan to visit \u003ca href=\"https://santacruzmah.org/exhibitions/were-still-here\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>We’re Still Here \u003c/em>\u003c/a>at the Santa Cruz Museum of Art and History through January 12. It’s not an easy set of stories to confront, but there’s no more important set of stories to hear, in terms of confronting the quality of our collective humanity, or lack thereof.\u003c/p>\n\u003cp>\u003cem>We’re Still Here: Stories of Seniors and Social Isolation\u003c/em> is the result of months of collaboration with seniors in Santa Cruz County. The artists who contributed did so after pitching and refining projects with a \u003ca href=\"https://santacruzmah.org/creative-community-committee\" target=\"_blank\" rel=\"noopener noreferrer\">committee\u003c/a> of 186 seniors and advocates. A similar approach worked to moving effect at the Santa Cruz Museum of Art and History in 2017 with the exhibition \u003ca href=\"https://www.kqed.org/arts/13810966/former-foster-youth-change-narrative\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Lost Childhoods\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>As a result, \u003cem>We’re Still Here\u003c/em> sets front and center photographs seniors took themselves, as well as stories they told about themselves. The artists essentially served as conduits to deliver a compelling, urgent argument to respond with compassion to the growing number of senior citizens in our midst.\u003c/p>\n\u003cp>Santa Cruz artist \u003ca href=\"https://www.beyondtheportrait.com\" target=\"_blank\" rel=\"noopener noreferrer\">Gina Orlando\u003c/a> loaned cameras to seven local seniors, ages 60 to 86, to share their daily experiences with social isolation. “Viewers really get an inside look at the personal life of a senior,” Orlando said.\u003c/p>\n\u003cfigure id=\"attachment_13872355\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872355\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/RS40625_Were-Still-Here-GOrlando-3-qut.jpg\" alt=\""Having to Choose/Tener que Elegir" tells the story of 69 year-old Denise a senior profiled by Santa Cruz artist Gina Orlando for the exhibit We're Still Here at the Santa Cruz Museum of Art and History.\" width=\"1920\" height=\"1559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40625_Were-Still-Here-GOrlando-3-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40625_Were-Still-Here-GOrlando-3-qut-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40625_Were-Still-Here-GOrlando-3-qut-800x650.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40625_Were-Still-Here-GOrlando-3-qut-768x624.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40625_Were-Still-Here-GOrlando-3-qut-1020x828.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40625_Were-Still-Here-GOrlando-3-qut-1200x974.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">“Having to Choose/Tener que Elegir” tells the story of 69 year-old Denise a senior profiled by Santa Cruz artist Gina Orlando for the exhibit We’re Still Here at the Santa Cruz Museum of Art and History. \u003ccite>(Courtesy of Gina Orlando)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>\u003c/b>The result in each case was a black and white profile Orlando produced, set alongside a collage of six smaller, color photos produced by the profile subject. Underneath each photo, a short caption describes various causes of isolation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There is often more than one cause. Maybe expensive medical problems are leading to tight times financially, and it’s just too expensive to go out for anything like meals or entertainment with friends. Maybe most or all of their close friends and family have died. Maybe family members are still alive, but too distant geographically (or emotionally) to provide much support.\u003c/p>\n\u003cp>\u003cb>\u003c/b>Think about that as you reflect on the fact that, a\u003cspan data-offset-key=\"8s1nk-0-0\">ccording to \u003ca href=\"https://www.mercurynews.com/2019/05/27/californias-growing-senior-population-by-the-numbers/\" target=\"_blank\" rel=\"noopener noreferrer\">state projections\u003c/a>, \u003c/span>more than 20 percent of the state’s residents will be seniors within this coming decade. That’s right: by 2030, more than nine million Californians will be over the age of 65.\u003c/p>\n\u003cp>Orlando said she interviewed many more than the individuals she ended up profiling for the exhibition. In particular, she was struck by how many people she talked to who felt abandoned by their children, but afraid to alienate them further by going public with their grief. “It was just heartbreaking to hear these stories about, you know, getting fancy gifts [for holidays or birthdays] and feeling like that was going to be ‘enough to keep mom quiet for the year.’ That’s how they took it. I\u003cb>\u003c/b>t’s really tragic.”\u003c/p>\n\u003cp>Santa Cruz artist \u003ca href=\"https://modes.io\" target=\"_blank\" rel=\"noopener noreferrer\">Wes Modes\u003c/a> had a different experience, in part because local senior support organizations put him in touch with active, well-connected people.\u003c/p>\n\u003cp>“A lot of the people I talked to were not particularly isolated themselves, but had lots to say about how to stay engaged. And those that found ways to be of service in some way were the people who seemed the happiest, and the most vital,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13872356\" class=\"wp-caption aligncenter\" style=\"max-width: 1152px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872356\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/DSC_3590.jpg\" alt=\"A visitor to the exhibit We're Still Here listens to a senior recorded by Santa Cruz artist Wes Modes at the Santa Cruz Museum of Art & History\" width=\"1152\" height=\"768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/DSC_3590.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/DSC_3590-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/DSC_3590-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/DSC_3590-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/DSC_3590-1020x680.jpg 1020w\" sizes=\"(max-width: 1152px) 100vw, 1152px\">\u003cfigcaption class=\"wp-caption-text\">A visitor to the exhibit We’re Still Here listens to a senior recorded by Santa Cruz artist Wes Modes at the Santa Cruz Museum of Art & History \u003ccite>(Courtesy of the Santa Cruz Museum of Art & History)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This reporter can confirm that the most mutually satisfying conversations with elders often involve a request for help. What was that recipe again? How would you resolve this situation I’m facing at work? Could you help me reach out to this mutual friend in need?\u003c/p>\n\u003cp>In the exhibit, you can pick up a phone on the wall to hear audio recordings of people like Kathy Cowan, an English instructor at Cabrillo College. She told Modes, “I have several students in their 40s and 50s now who have been so kind. They come and visit me or take me to lunch. You know, they still care about me.”\u003c/p>\n\u003cp>\u003cb>\u003c/b>Modes said a lot of the people he talked to found solidarity and community with other seniors, as well as family and people they used to work with or for.\u003c/p>\n\u003cp>“Seniors can be a light for what’s coming ahead,” Bonnie Brenwhite told him. “We show all these qualities that you don’t always have in your youth, like resiliency and a form of leadership that’s based on overcoming things.”\u003c/p>\n\u003cp>As you walk out of the exhibition, the last wall offers visitors 45 ideas printed on small business cards, ranging from “Share your home with an older adult,” to “Volunteer at an LGBTQ Senior Luncheon.” You probably don’t need an action card to remind you of more basic strategies, like picking up the phone and calling your mother.\u003c/p>\n\u003cfigure id=\"attachment_13872357\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13872357\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/RS40624_Were-Still-Here-GOrlando-2-qut.jpg\" alt=\"Pick a card, any card. \" width=\"1920\" height=\"1565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40624_Were-Still-Here-GOrlando-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40624_Were-Still-Here-GOrlando-2-qut-160x130.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40624_Were-Still-Here-GOrlando-2-qut-800x652.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40624_Were-Still-Here-GOrlando-2-qut-768x626.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40624_Were-Still-Here-GOrlando-2-qut-1020x831.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40624_Were-Still-Here-GOrlando-2-qut-1200x978.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pick a card, any card. \u003ccite>(Courtesy of Gina Orlando)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Modes takes issue with the idea that personal effort alone, whether from friends, family or strangers, will significantly improve the lives of lonely seniors in our society. Not when we’re so obsessed with defining people based on their job titles and financial wherewithal, or lack thereof.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“We should absolutely connect with those people in our lives who are elders. But at the same time, we should work to change a system that prioritizes people based on how productive they are. I think that we can start broadening our concept of what’s useful, \u003cem>who’s\u003c/em> useful. Maybe we need to look harder at a system that monetizes human value,” he argued.\u003c/p>\n\u003cp>It’s an idea worth spreading. After January 12th, \u003cem>We’re Still Here\u003c/em> heads out on tour to Marin, Sonoma, and San Francisco Counties.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>We’re Still Here: Stories of Seniors and Social Isolation\u003c/strong> runs through January 12, 2020 at the Santa Cruz Museum of Art and History. Seniors get in free, of course. For more info, click \u003ca href=\"https://santacruzmah.org/exhibitions/were-still-here\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Guided by Ghosts' Tells of Chinatowns Born of Racism, Then Lost to History",
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"headTitle": "‘Guided by Ghosts’ Tells of Chinatowns Born of Racism, Then Lost to History | KQED",
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"content": "\u003cp>The last Chinatown of Santa Cruz disappeared after the great San Lorenzo River flood of 1955, known as the “\u003ca href=\"https://history.santacruzpl.org/omeka/files/original/b0c92c90026c6f75f8e4cf74f1230666.pdf\" target=\"_blank\" rel=\"noopener\">Christmas Flood\u003c/a>” because it hit on December 22 of that year. Despite the fact there were four Chinatowns in Santa Cruz, they all disappeared into history, destroyed by flood and fire, their inhabitants scattered to other places more welcoming.\u003c/p>\n\u003cp>An exhibition called \u003ca href=\"https://santacruzmah.org/exhibitions/guided-by-ghosts\" target=\"_blank\" rel=\"noopener\">\u003cem>Guided by Ghosts\u003c/em>\u003c/a> brings that story back to life on the walls of the Santa Cruz Museum of Art and History. Chinese-American artist \u003ca href=\"https://tessahulls.com/home.html\" target=\"_blank\" rel=\"noopener\">Tessa Hulls\u003c/a>\u003ci> \u003c/i>weaves multiple strands of history together with photographs, newspaper clippings, and water colors. It looks like a graphic novel. (As it happens, Hulls, who’s home base is in Seattle, has gone off the grid to finish a graphic novel focused on related material.)\u003c/p>\n\u003cp>At MAH, Hulls has put up a giant, wall-to-wall timeline with a color-coded key: maroon for “Tessa’s Story,” aqua green for the “Monterey Bay Region,” and yellow for “National/International,” starting with the first Spanish Galleon to cross the Pacific from the Philippines in 1565.\u003c/p>\n\u003cfigure id=\"attachment_13857075\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857075\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/RS37042_Screen-Shot-2019-05-10-at-11.57.41-AM-800x578.jpeg\" alt=\"'Guided by Ghosts' by Chinese-American artist Tessa Hulls weaves multiple strands of history together into a graphic novel-style timeline, popping with photographs, newspaper clippings, and water colors.\" width=\"800\" height=\"578\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37042_Screen-Shot-2019-05-10-at-11.57.41-AM-800x578.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37042_Screen-Shot-2019-05-10-at-11.57.41-AM-160x116.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37042_Screen-Shot-2019-05-10-at-11.57.41-AM-768x555.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37042_Screen-Shot-2019-05-10-at-11.57.41-AM-1020x737.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37042_Screen-Shot-2019-05-10-at-11.57.41-AM.jpeg 1029w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Guided by Ghosts’ by Chinese-American artist Tessa Hulls weaves multiple strands of history together into a graphic novel-style timeline, popping with photographs, newspaper clippings, and water colors. \u003ccite>(Photo: Courtesy of the Santa Cruz Museum of Art & History)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The timeline pops with quotes from people like George Ow, a kind of unofficial mayor for this community of ghosts. Hulls quotes him saying, “In Chinese folklore, if something is not settled during a lifetime, you have hungry ghosts, like angry spirits. By acknowledging these spirits, we’re kind of like feeding them.”\u003c/p>\n\u003cp>Ow, who grew up in that last Chinatown by the river, said the spirits would approve of Hulls joining the short list of those who’ve honored the history of Chinese-Americans in the Santa Cruz area. Ow’s uncle, George Lee, published a seminal collection of photographs, \u003ca href=\"http://tph.ucpress.edu/content/27/2/156.article-info\" target=\"_blank\" rel=\"noopener\">\u003cem>Chinatown Dreams\u003c/em>\u003c/a>. Historian \u003ca href=\"http://www.sandylydon.com\" target=\"_blank\" rel=\"noopener\">Sandy Lyden\u003c/a> wrote \u003ca href=\"http://www.capitolabook.com/chinese.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Chinese Gold: The Chinese in the Monterey Bay Region\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Guided by Ghosts\u003c/em> ends with a replica of the artist’s studio in Port Townsend, Washington. An empty desk and chair beckons visitors, and a deck of cards asks about our own family histories. It’s a common motif at the Museum of Art & History, which often concludes its exhibitions with some kind of participatory element.\u003c/p>\n\u003cfigure id=\"attachment_13857076\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857076\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/RS37041_lost-chinatowns-by-cynthia-ling-lee-and-i-dreamed-bruce-lee-was-my-father-by-melissa-lewis_32420521088_o-1024x683-800x534.jpg\" alt=\"'Lost Chinatowns' a dance theatre work by UC Santa Cruz Assistant Professor Cynthia Ling Lee, draws from poetry, court transcripts, and racist newspaper editorials. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37041_lost-chinatowns-by-cynthia-ling-lee-and-i-dreamed-bruce-lee-was-my-father-by-melissa-lewis_32420521088_o-1024x683-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37041_lost-chinatowns-by-cynthia-ling-lee-and-i-dreamed-bruce-lee-was-my-father-by-melissa-lewis_32420521088_o-1024x683-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37041_lost-chinatowns-by-cynthia-ling-lee-and-i-dreamed-bruce-lee-was-my-father-by-melissa-lewis_32420521088_o-1024x683-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37041_lost-chinatowns-by-cynthia-ling-lee-and-i-dreamed-bruce-lee-was-my-father-by-melissa-lewis_32420521088_o-1024x683-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37041_lost-chinatowns-by-cynthia-ling-lee-and-i-dreamed-bruce-lee-was-my-father-by-melissa-lewis_32420521088_o-1024x683.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Lost Chinatowns’ a dance theatre work by UC Santa Cruz Assistant Professor Cynthia Ling Lee, draws from poetry, court transcripts, and racist newspaper editorials. \u003ccite>(Photo: Courtesy of Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hulls may not have grown up in Santa Cruz, but the story still feels like hers. The journey her grandmother took to flee China, and the journey her mother took to get to the United States, are of a piece with her timeline, literally, as well as metaphorically.\u003c/p>\n\u003cp>When UC Santa Cruz Theatre Arts Assistant Professor \u003ca href=\"http://theater.ucsc.edu/faculty/cynthia-ling-lee\" target=\"_blank\" rel=\"noopener\">Cynthia Ling Lee\u003c/a> arrived in the area three years ago, she was surprised to discover how little Chinese influence remains. Lee couldn’t even find an Asian grocery store. “You have to drive all the way to San Jose. There’s this whole history of racism that drove out all the Chinese people. So, evidently, that’s why!” she said.\u003c/p>\n\u003cp>[aside postID='arts_12200341,news_11626850,forum_2010101869250' label='Related Coverage']Lee choreographed \u003ca href=\"http://www.cynthialinglee.com/lost-chinatowns/\" target=\"_blank\" rel=\"noopener\">\u003ci>Lost Chinatowns\u003c/i>\u003c/a>, a dance piece she performed at the museum in conjunction with \u003cem>Guided by Ghosts\u003c/em>. An ensemble version of the work has been performed in San Francisco as well. “While anti-Chinese racism now is not the same as it was in the early 1900s, we are in an era of, like, virulent, radicalized xenophobia, so it’s all super relevant.”\u003c/p>\n\u003cp>It’s a story Ow sees echoing through the centuries: “The labor is needed, but the people aren’t necessarily welcomed. From the Native Americans, to the Chinese, to the Japanese, to the Filipinos, to the people from the Dustbowl, and Mexico, and the countries south of Mexico. It’s the same old story. It’s still going on,” Ow said.\u003c/p>\n\u003cp>Today, Ow’s a real estate developer. Take a moment with that. Because of the \u003ca href=\"https://en.wikipedia.org/wiki/Chinese_Exclusion_Act\" target=\"_blank\" rel=\"noopener\">Chinese Exclusion Act\u003c/a> of 1882, it wasn’t until 1943 Chinese-Americans were allowed to own land in California. That makes Ow a living embodiment of the idea the personal is political.\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Guided by Ghosts \u003c/strong>continues through June 23, 2019 at the Santa Cruz Museum of Art and History. For more information, click \u003ca href=\"https://santacruzmah.org/exhibitions/guided-by-ghosts\" 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>The last Chinatown of Santa Cruz disappeared after the great San Lorenzo River flood of 1955, known as the “\u003ca href=\"https://history.santacruzpl.org/omeka/files/original/b0c92c90026c6f75f8e4cf74f1230666.pdf\" target=\"_blank\" rel=\"noopener\">Christmas Flood\u003c/a>” because it hit on December 22 of that year. Despite the fact there were four Chinatowns in Santa Cruz, they all disappeared into history, destroyed by flood and fire, their inhabitants scattered to other places more welcoming.\u003c/p>\n\u003cp>An exhibition called \u003ca href=\"https://santacruzmah.org/exhibitions/guided-by-ghosts\" target=\"_blank\" rel=\"noopener\">\u003cem>Guided by Ghosts\u003c/em>\u003c/a> brings that story back to life on the walls of the Santa Cruz Museum of Art and History. Chinese-American artist \u003ca href=\"https://tessahulls.com/home.html\" target=\"_blank\" rel=\"noopener\">Tessa Hulls\u003c/a>\u003ci> \u003c/i>weaves multiple strands of history together with photographs, newspaper clippings, and water colors. It looks like a graphic novel. (As it happens, Hulls, who’s home base is in Seattle, has gone off the grid to finish a graphic novel focused on related material.)\u003c/p>\n\u003cp>At MAH, Hulls has put up a giant, wall-to-wall timeline with a color-coded key: maroon for “Tessa’s Story,” aqua green for the “Monterey Bay Region,” and yellow for “National/International,” starting with the first Spanish Galleon to cross the Pacific from the Philippines in 1565.\u003c/p>\n\u003cfigure id=\"attachment_13857075\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857075\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/RS37042_Screen-Shot-2019-05-10-at-11.57.41-AM-800x578.jpeg\" alt=\"'Guided by Ghosts' by Chinese-American artist Tessa Hulls weaves multiple strands of history together into a graphic novel-style timeline, popping with photographs, newspaper clippings, and water colors.\" width=\"800\" height=\"578\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37042_Screen-Shot-2019-05-10-at-11.57.41-AM-800x578.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37042_Screen-Shot-2019-05-10-at-11.57.41-AM-160x116.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37042_Screen-Shot-2019-05-10-at-11.57.41-AM-768x555.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37042_Screen-Shot-2019-05-10-at-11.57.41-AM-1020x737.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37042_Screen-Shot-2019-05-10-at-11.57.41-AM.jpeg 1029w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Guided by Ghosts’ by Chinese-American artist Tessa Hulls weaves multiple strands of history together into a graphic novel-style timeline, popping with photographs, newspaper clippings, and water colors. \u003ccite>(Photo: Courtesy of the Santa Cruz Museum of Art & History)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The timeline pops with quotes from people like George Ow, a kind of unofficial mayor for this community of ghosts. Hulls quotes him saying, “In Chinese folklore, if something is not settled during a lifetime, you have hungry ghosts, like angry spirits. By acknowledging these spirits, we’re kind of like feeding them.”\u003c/p>\n\u003cp>Ow, who grew up in that last Chinatown by the river, said the spirits would approve of Hulls joining the short list of those who’ve honored the history of Chinese-Americans in the Santa Cruz area. Ow’s uncle, George Lee, published a seminal collection of photographs, \u003ca href=\"http://tph.ucpress.edu/content/27/2/156.article-info\" target=\"_blank\" rel=\"noopener\">\u003cem>Chinatown Dreams\u003c/em>\u003c/a>. Historian \u003ca href=\"http://www.sandylydon.com\" target=\"_blank\" rel=\"noopener\">Sandy Lyden\u003c/a> wrote \u003ca href=\"http://www.capitolabook.com/chinese.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Chinese Gold: The Chinese in the Monterey Bay Region\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Guided by Ghosts\u003c/em> ends with a replica of the artist’s studio in Port Townsend, Washington. An empty desk and chair beckons visitors, and a deck of cards asks about our own family histories. It’s a common motif at the Museum of Art & History, which often concludes its exhibitions with some kind of participatory element.\u003c/p>\n\u003cfigure id=\"attachment_13857076\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857076\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/RS37041_lost-chinatowns-by-cynthia-ling-lee-and-i-dreamed-bruce-lee-was-my-father-by-melissa-lewis_32420521088_o-1024x683-800x534.jpg\" alt=\"'Lost Chinatowns' a dance theatre work by UC Santa Cruz Assistant Professor Cynthia Ling Lee, draws from poetry, court transcripts, and racist newspaper editorials. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37041_lost-chinatowns-by-cynthia-ling-lee-and-i-dreamed-bruce-lee-was-my-father-by-melissa-lewis_32420521088_o-1024x683-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37041_lost-chinatowns-by-cynthia-ling-lee-and-i-dreamed-bruce-lee-was-my-father-by-melissa-lewis_32420521088_o-1024x683-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37041_lost-chinatowns-by-cynthia-ling-lee-and-i-dreamed-bruce-lee-was-my-father-by-melissa-lewis_32420521088_o-1024x683-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37041_lost-chinatowns-by-cynthia-ling-lee-and-i-dreamed-bruce-lee-was-my-father-by-melissa-lewis_32420521088_o-1024x683-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/RS37041_lost-chinatowns-by-cynthia-ling-lee-and-i-dreamed-bruce-lee-was-my-father-by-melissa-lewis_32420521088_o-1024x683.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Lost Chinatowns’ a dance theatre work by UC Santa Cruz Assistant Professor Cynthia Ling Lee, draws from poetry, court transcripts, and racist newspaper editorials. \u003ccite>(Photo: Courtesy of Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hulls may not have grown up in Santa Cruz, but the story still feels like hers. The journey her grandmother took to flee China, and the journey her mother took to get to the United States, are of a piece with her timeline, literally, as well as metaphorically.\u003c/p>\n\u003cp>When UC Santa Cruz Theatre Arts Assistant Professor \u003ca href=\"http://theater.ucsc.edu/faculty/cynthia-ling-lee\" target=\"_blank\" rel=\"noopener\">Cynthia Ling Lee\u003c/a> arrived in the area three years ago, she was surprised to discover how little Chinese influence remains. Lee couldn’t even find an Asian grocery store. “You have to drive all the way to San Jose. There’s this whole history of racism that drove out all the Chinese people. So, evidently, that’s why!” she said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Lee choreographed \u003ca href=\"http://www.cynthialinglee.com/lost-chinatowns/\" target=\"_blank\" rel=\"noopener\">\u003ci>Lost Chinatowns\u003c/i>\u003c/a>, a dance piece she performed at the museum in conjunction with \u003cem>Guided by Ghosts\u003c/em>. An ensemble version of the work has been performed in San Francisco as well. “While anti-Chinese racism now is not the same as it was in the early 1900s, we are in an era of, like, virulent, radicalized xenophobia, so it’s all super relevant.”\u003c/p>\n\u003cp>It’s a story Ow sees echoing through the centuries: “The labor is needed, but the people aren’t necessarily welcomed. From the Native Americans, to the Chinese, to the Japanese, to the Filipinos, to the people from the Dustbowl, and Mexico, and the countries south of Mexico. It’s the same old story. It’s still going on,” Ow said.\u003c/p>\n\u003cp>Today, Ow’s a real estate developer. Take a moment with that. Because of the \u003ca href=\"https://en.wikipedia.org/wiki/Chinese_Exclusion_Act\" target=\"_blank\" rel=\"noopener\">Chinese Exclusion Act\u003c/a> of 1882, it wasn’t until 1943 Chinese-Americans were allowed to own land in California. That makes Ow a living embodiment of the idea the personal is political.\u003c/p>\n\u003cp>\u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Guided by Ghosts \u003c/strong>continues through June 23, 2019 at the Santa Cruz Museum of Art and History. For more information, click \u003ca href=\"https://santacruzmah.org/exhibitions/guided-by-ghosts\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you could pick up the phone and call someone dead, \u003ci>who\u003c/i> would you call? And \u003ci>what\u003c/i> would you say? On Sunday, a pop up telephone booth in downtown Santa Cruz offers you the opportunity to answer those questions. The installation is called \u003cem>Conversations I Wish I Had\u003c/em>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.deathdialogue.com/about/\" target=\"_blank\" rel=\"noopener noreferrer\">Morgan Brown\u003c/a> lost her mother in a car crash. In 2012, a big rig truck driver on meth swerved into oncoming traffic. It took Brown awhile before she felt comfortable being open about her grief. Now, she’s \u003ca href=\"https://www.deathdialogue.com/tour/\" target=\"_blank\" rel=\"noopener noreferrer\">touring the country\u003c/a> with her phone booth, to help others connect with their emotions over personal loss.\u003c/p>\n\u003cp>No, it’s not a real phone booth, and nobody talks back to you, but it does give you permission to open yourself up, in any way you see fit.\u003c/p>\n\u003cp>“I’ve had people talk to childhood pets. I’ve had people talk to people who are alive but they’re estranged from. I’ve had people talk to their former selves. You can interpret died or death in any way that you need to,” Brown says. After Santa Cruz, Brown will take the booth to San Francisco.\u003c/p>\n\u003cp>Many people will recall a phone booth famously set up in Ōtsuchi\u003cem>, \u003c/em>Japan where families who lost loved ones in the 2011 earthquake and tsunami could imagine they were staying in touch with them. The story is beautifully told by producer Miki Meek on \u003ca href=\"https://www.thisamericanlife.org/597/one-last-thing-before-i-go/act-one\" target=\"_blank\" rel=\"noopener noreferrer\">This American Life\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13824131\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13824131 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-800x1200.jpg\" alt=\"Morgan Brown's "phone booth" brings to mind an excerpt from this poem by Jalaluddin Mevlana Rumi. “People are going back and forth across the doorsill where the two worlds touch. The door is round and open. Don't go back to sleep!”\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut.jpg 1365w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Morgan Brown’s “phone booth” brings to mind an excerpt from this poem by Jalaluddin Mevlana Rumi. “People are going back and forth across the doorsill where the two worlds touch. The door is round and open. Don’t go back to sleep!” \u003ccite>(Photo: Courtesy of The Lab)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown insists she came up with her phone booth independently of the one in Japan. Whatever the case, the cathartic appeal of a chat with the dead is the same. Brown provides a “directory” to help get you started. “There’s a book of call prompts designed to carry you along in the conversation,” she says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The booth in Abbott Square is part of a larger conversation the \u003ca href=\"https://santacruzmah.org/2017/spoken-unspoken-dec-1st-2017-march-25-2018/\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Cruz Museum of Art & History\u003c/a> is encouraging about that transitional threshold between life and death. Saturday, Brown hosts another pop-up, one in a series she calls “Death Cafes,” for MAH members. MAH exhibition catalyst Whitney Ford-Terry explains it’s another opportunity to normalize conversations about death and dying. “It’s a casual environment, an atmosphere that isn’t morbid and morose. It’s just an opportunity to talk about the things that are most important to you,” Ford-Terry says.\u003c/p>\n\u003cp>Inside the museum, another installation called \u003cem>Spoken/Unspoken\u003c/em> features intimate recordings from \u003ca href=\"https://www.hospicesantacruz.org\" target=\"_blank\" rel=\"noopener noreferrer\">Hospice Santa Cruz County\u003c/a> patients in end-of-life care, like Tana, who offers practical advice. “Get your passport when you’re 16. That was a dumb thing I waited so long. And don’t wait till the end of your life to be peaceful, chill and groovy.”\u003c/p>\n\u003cp>Then there’s Elvira, who tells us her father was abusive. “He’s still my father. Even though he’s gone now. Never got the chance to tell him I loved him or nothing, you know,” she says, over a mediative musical soundtrack performed by \u003ca href=\"https://tely2.kqed.org/owa/redir.aspx?C=n9giQ0vWJWdavwR1q1w7EJZ7F2XF4v7hzDOh8d9CTZ_BbZV-L3DVCA..&URL=https%3a%2f%2fprotect-us.mimecast.com%2fs%2fk9mnCOYZQziJxk3cA4B5Q%3fdomain%3dabduo.net\" target=\"_blank\" rel=\"noopener noreferrer\">A/B Duo\u003c/a> (Meerenai Shim and Chris Jones). “You have to learn to forgive and let it go,” Elvira says, sharing what sounds like a hard-won truth.\u003c/p>\n\u003cp>“The opportunity to work with such powerful material was hugely appealing, if also intimidating,” says composer \u003ca href=\"http://www.laniersammons.com/Main/about\" target=\"_blank\" rel=\"noopener noreferrer\">Lanier Sammons\u003c/a>, who went through various interviews conducted by hospice workers, selected a subset, edited them down, and composed music to run under them. “Elvira jumps out for her willingness to talk about some very hard things in her life and to forgive, from such a genuine and vulnerable place.”\u003c/p>\n\u003cp>Sammons adds, “Ultimately, I came away from the process thinking that knowing the end of your life is approaching is really a gift. The perspective the folks in the piece have achieved from that knowledge, and from processing it with hospice care and support seems so, so valuable. I think some of that willingness to share comes from their desire to give the gift of that perspective with the rest of us – because there’s no reason we can’t operate from that place well before we know or expect that our own stories are wrapping up – and they can teach us how to do that.”\u003c/p>\n\u003cp>Me? I talk to dead people all the time. I like to invite them, one at a time, to occupy the passenger seat in my car, and offer comments about various goings on in my life while I commute.\u003c/p>\n\u003cp>But here’s my advice: pick someone you love and tell them you love them, today, while they’re around to get the message.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Spoken/Unspoken; Stories on Living and Dying continues at the Santa Cruz Museum of Art & History through March 25, 2018. For more information, click \u003ca href=\"https://santacruzmah.org/2017/spoken-unspoken-dec-1st-2017-march-25-2018/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you could pick up the phone and call someone dead, \u003ci>who\u003c/i> would you call? And \u003ci>what\u003c/i> would you say? On Sunday, a pop up telephone booth in downtown Santa Cruz offers you the opportunity to answer those questions. The installation is called \u003cem>Conversations I Wish I Had\u003c/em>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.deathdialogue.com/about/\" target=\"_blank\" rel=\"noopener noreferrer\">Morgan Brown\u003c/a> lost her mother in a car crash. In 2012, a big rig truck driver on meth swerved into oncoming traffic. It took Brown awhile before she felt comfortable being open about her grief. Now, she’s \u003ca href=\"https://www.deathdialogue.com/tour/\" target=\"_blank\" rel=\"noopener noreferrer\">touring the country\u003c/a> with her phone booth, to help others connect with their emotions over personal loss.\u003c/p>\n\u003cp>No, it’s not a real phone booth, and nobody talks back to you, but it does give you permission to open yourself up, in any way you see fit.\u003c/p>\n\u003cp>“I’ve had people talk to childhood pets. I’ve had people talk to people who are alive but they’re estranged from. I’ve had people talk to their former selves. You can interpret died or death in any way that you need to,” Brown says. After Santa Cruz, Brown will take the booth to San Francisco.\u003c/p>\n\u003cp>Many people will recall a phone booth famously set up in Ōtsuchi\u003cem>, \u003c/em>Japan where families who lost loved ones in the 2011 earthquake and tsunami could imagine they were staying in touch with them. The story is beautifully told by producer Miki Meek on \u003ca href=\"https://www.thisamericanlife.org/597/one-last-thing-before-i-go/act-one\" target=\"_blank\" rel=\"noopener noreferrer\">This American Life\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13824131\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13824131 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-800x1200.jpg\" alt=\"Morgan Brown's "phone booth" brings to mind an excerpt from this poem by Jalaluddin Mevlana Rumi. “People are going back and forth across the doorsill where the two worlds touch. The door is round and open. Don't go back to sleep!”\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/RS29344_pARTake-48-1-qut.jpg 1365w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Morgan Brown’s “phone booth” brings to mind an excerpt from this poem by Jalaluddin Mevlana Rumi. “People are going back and forth across the doorsill where the two worlds touch. The door is round and open. Don’t go back to sleep!” \u003ccite>(Photo: Courtesy of The Lab)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown insists she came up with her phone booth independently of the one in Japan. Whatever the case, the cathartic appeal of a chat with the dead is the same. Brown provides a “directory” to help get you started. “There’s a book of call prompts designed to carry you along in the conversation,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The booth in Abbott Square is part of a larger conversation the \u003ca href=\"https://santacruzmah.org/2017/spoken-unspoken-dec-1st-2017-march-25-2018/\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Cruz Museum of Art & History\u003c/a> is encouraging about that transitional threshold between life and death. Saturday, Brown hosts another pop-up, one in a series she calls “Death Cafes,” for MAH members. MAH exhibition catalyst Whitney Ford-Terry explains it’s another opportunity to normalize conversations about death and dying. “It’s a casual environment, an atmosphere that isn’t morbid and morose. It’s just an opportunity to talk about the things that are most important to you,” Ford-Terry says.\u003c/p>\n\u003cp>Inside the museum, another installation called \u003cem>Spoken/Unspoken\u003c/em> features intimate recordings from \u003ca href=\"https://www.hospicesantacruz.org\" target=\"_blank\" rel=\"noopener noreferrer\">Hospice Santa Cruz County\u003c/a> patients in end-of-life care, like Tana, who offers practical advice. “Get your passport when you’re 16. That was a dumb thing I waited so long. And don’t wait till the end of your life to be peaceful, chill and groovy.”\u003c/p>\n\u003cp>Then there’s Elvira, who tells us her father was abusive. “He’s still my father. Even though he’s gone now. Never got the chance to tell him I loved him or nothing, you know,” she says, over a mediative musical soundtrack performed by \u003ca href=\"https://tely2.kqed.org/owa/redir.aspx?C=n9giQ0vWJWdavwR1q1w7EJZ7F2XF4v7hzDOh8d9CTZ_BbZV-L3DVCA..&URL=https%3a%2f%2fprotect-us.mimecast.com%2fs%2fk9mnCOYZQziJxk3cA4B5Q%3fdomain%3dabduo.net\" target=\"_blank\" rel=\"noopener noreferrer\">A/B Duo\u003c/a> (Meerenai Shim and Chris Jones). “You have to learn to forgive and let it go,” Elvira says, sharing what sounds like a hard-won truth.\u003c/p>\n\u003cp>“The opportunity to work with such powerful material was hugely appealing, if also intimidating,” says composer \u003ca href=\"http://www.laniersammons.com/Main/about\" target=\"_blank\" rel=\"noopener noreferrer\">Lanier Sammons\u003c/a>, who went through various interviews conducted by hospice workers, selected a subset, edited them down, and composed music to run under them. “Elvira jumps out for her willingness to talk about some very hard things in her life and to forgive, from such a genuine and vulnerable place.”\u003c/p>\n\u003cp>Sammons adds, “Ultimately, I came away from the process thinking that knowing the end of your life is approaching is really a gift. The perspective the folks in the piece have achieved from that knowledge, and from processing it with hospice care and support seems so, so valuable. I think some of that willingness to share comes from their desire to give the gift of that perspective with the rest of us – because there’s no reason we can’t operate from that place well before we know or expect that our own stories are wrapping up – and they can teach us how to do that.”\u003c/p>\n\u003cp>Me? I talk to dead people all the time. I like to invite them, one at a time, to occupy the passenger seat in my car, and offer comments about various goings on in my life while I commute.\u003c/p>\n\u003cp>But here’s my advice: pick someone you love and tell them you love them, today, while they’re around to get the message.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Spoken/Unspoken; Stories on Living and Dying continues at the Santa Cruz Museum of Art & History through March 25, 2018. For more information, click \u003ca href=\"https://santacruzmah.org/2017/spoken-unspoken-dec-1st-2017-march-25-2018/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>During the time Army Captain Charles Gail wandered Okinawa with his box camera in 1952, his intention was artistic. But his slice-of-life photos — along with his detailed notes about each scene — serve as precious documentation of a way of life that’s gone now.\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/tcr/2017/11/OkinawanHistoryMyrow.mp3\" title=\"Okinawan History\" program=\"The California Report\" image=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/RS27905_Photo-Oct-05-4-768x432.jpg\"]\u003c/p>\n\u003cp>So when UC Santa Cruz was offered a trove of photos that Gail took while stationed on Okinawa, History Professor \u003ca href=\"https://history.ucsc.edu/faculty/profiles/singleton.php?&singleton=true&cruz_id=achristy\" target=\"_blank\" rel=\"noopener\">Alan Christy\u003c/a> jumped on it. Then, he took 15 students on a couple of international field trips to the island, to research and write history themselves.\u003c/p>\n\u003cp>“By working with me on the research,” he says, “they’ll learn how history is done.”\u003c/p>\n\u003ch2>Much of Okinawa’s historical record destroyed\u003c/h2>\n\u003cp>The epic battle on Okinawa, depicted in this 1945 newsreel, was devastating. About 90,000 soldiers were killed on both sides. More than 110,000 Okinawans died.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=ZUbDw84ouok]\u003cbr>\nAfter World War II, the US military moved in and established several bases, whether the Okinawans wanted them or not. Civilian photography was restricted. Christy explains, “WWII in Okinawa was immensely destructive of the heritage landscape: archives, images, not to mention, of course, people.”\u003c/p>\n\u003cp>As part of Christy’s project, UC Santa Cruz students were asked to seek out the exact places where Gail shot his photos, and found some of the people he photographed are still alive, or at least remembered by people alive today.\u003c/p>\n\u003cp>“Crowds would gather around the photo — all the old folk, particularly, because these are photos from 70 years ago — and argue about where this photo was or wasn’t,” Christy says.\u003c/p>\n\u003cfigure id=\"attachment_13831450\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Okinawan-note1-800x450.jpg\" alt='Charles Gail wrote notes on the back of his photographs, like the one at the top of this article: \"This is a seed store. The old gent has made himself a pair of bifocals by taping two pairs of glasses together...You will notice he smokes Camel cigarettes with an ivory holder, and the dragon ash tray is Okinawan pottery.\"' width=\"800\" height=\"450\" class=\"size-medium wp-image-13831450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Charles Gail wrote notes on the back of his photographs, like the one at the top of this article: “This is a seed store. The old gent has made himself a pair of bifocals by taping two pairs of glasses together…You will notice he smokes Camel cigarettes with an ivory holder, and the dragon ash tray is Okinawan pottery.” \u003ccite>(Courtesy of UC Santa Cruz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“‘Ah, I remember those people, the people were were selling fish like that.’ You’d just get these great conversations and sit there and soak it in,” Christy says.\u003c/p>\n\u003cp>Gail focused his camera on long-suffering peasants carrying goods to market, fishermen hauling their catch onto the beach, and adorable children everywhere.\u003c/p>\n\u003cp>Now, a selection of his photos, as well as photos shot by students in the same locations, are on display at the \u003ca href=\"http://art.ucsc.edu/galleries/gail-project-okinawan-american-dialogue\" target=\"_blank\" rel=\"noopener\">Mary Porter Sesnon Art Gallery\u003c/a> at UC Santa Cruz.\u003c/p>\n\u003cfigure id=\"attachment_13831452\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Okinawan-note2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13831452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Some of the little children are now elders on Okinawa. Detail of photo by Charles Eugene Gail; c. 1952. \u003ccite>(Charles Eugene Gail)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Gail Project: An Okinawan-American Dialogue\u003c/em>, which includes 50 digital prints reprinted from the original 200 black and white photos, is being developed into a traveling exhibition.\u003c/p>\n\u003cp>The current exhibit also includes an online archive, with oral histories from Americans and Okinawans, as well as undergraduate research and writing.\u003c/p>\n\u003ch2>No “us” and “them” when the subjects are your relatives\u003c/h2>\n\u003cp>Among the student historians: Alexyss “Lex” McClellan, who’s majoring in history and critical race and ethnic studies. McClellan is also part Okinawan.\u003c/p>\n\u003cp>“Most of my family’s worldly possessions were destroyed during the battle, so photos are rare,” McClellan says. Her grandmother married an American serviceman and moved to San Diego.\u003c/p>\n\u003cfigure id=\"attachment_13831454\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Okinawan-note3-800x1108.jpg\" alt=\"Locating the exact spots where Charles Gail shot his photos in 1952 was no small feat. Take this shot of the Katsuren Peninsula, that now features a bridge. Supportive Okinawans helped the student historians from UC Santa Cruz figure out where to go.\" width=\"800\" height=\"1108\" class=\"size-medium wp-image-13831454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3-160x222.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3-768x1064.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3-240x332.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3-375x519.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3-520x720.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Locating the exact spots where Charles Gail shot his photos in 1952 was no small feat. Take this shot of the Katsuren Peninsula, that now features a bridge. Supportive Okinawans helped the student historians from UC Santa Cruz figure out where to go. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This project has been a blessing to me because it’s given me an opportunity — to talk to my grandmother, her sisters, her brother and the rest of my family on a level they empathize deeply with — and so for them to tell stories that I had never heard growing up,” McClellan says.\u003c/p>\n\u003cp>McClellan and her family are also enjoying an upwelling of pride at the attention UC Santa Cruz is paying to Okinawan culture. Outside of Japan, many people are not aware the islanders don’t consider themselves Japanese. Their neighbors to the north only took over Okinawa in 1609.\u003c/p>\n\u003cp>Okinawans speak different languages. Or rather, they did. After years of Japanese and American occupation, less than 10,000 people now speak some form of Okinawan. It’s just another way a distinctive indigenous culture fades into history.\u003c/p>\n\u003cp>McLellan says Gail wasn’t thinking about history when he took his photographs. “He was just taking pictures he thought other Americans might find anomalous or interesting. But to us, these are a gold mine.”\u003c/p>\n\u003cfigure id=\"attachment_13831455\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Okinawan-note4-800x450.jpg\" alt='Detail of \"Tattoos,\" by Charles Eugene Gail; c. 1952. \"Notice tattoos on her wrist, an old marrying custom,\" Gail wrote on the back. Old indeed. Japan banned the practice of hachiji in the late 19th century as part of an effort to suppress local customs. Women like this one were some of the last to wear these indigo tattoos for decades. The practice is now enjoying a resurgence on Okinawa.' width=\"800\" height=\"450\" class=\"size-medium wp-image-13831455\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of “Tattoos,” by Charles Eugene Gail; c. 1952. “Notice tattoos on her wrist, an old marrying custom,” Gail wrote on the back. Old indeed. Japan banned the practice of hachiji in the late 19th century as part of an effort to suppress local customs. Women like this one were some of the last to wear these indigo tattoos for decades. The practice is now enjoying a resurgence on Okinawa. \u003ccite>(Charles Eugene Gail)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Geri Gail, a former employee of UC Santa Cruz who always knew her dad was a talent, it’s a thrill to see his pictures archived in excellent company alongside prominent 20th century photographers in the university’s growing collection.\u003c/p>\n\u003cp>“It just gives me goose bumps. I’m so proud,” she says, looking at her father’s photos up on the wall at the Sesnon Gallery.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Gail Project: An Okinawan-American Dialogue’ is on view at the The Mary Porter Sesnon Art Gallery through Dec. 2, 2017. For more information, \u003ca href=\"https://gailproject.ucsc.edu\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So when UC Santa Cruz was offered a trove of photos that Gail took while stationed on Okinawa, History Professor \u003ca href=\"https://history.ucsc.edu/faculty/profiles/singleton.php?&singleton=true&cruz_id=achristy\" target=\"_blank\" rel=\"noopener\">Alan Christy\u003c/a> jumped on it. Then, he took 15 students on a couple of international field trips to the island, to research and write history themselves.\u003c/p>\n\u003cp>“By working with me on the research,” he says, “they’ll learn how history is done.”\u003c/p>\n\u003ch2>Much of Okinawa’s historical record destroyed\u003c/h2>\n\u003cp>The epic battle on Okinawa, depicted in this 1945 newsreel, was devastating. About 90,000 soldiers were killed on both sides. More than 110,000 Okinawans died.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/ZUbDw84ouok'\n title='//www.youtube.com/embed/ZUbDw84ouok'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cbr>\nAfter World War II, the US military moved in and established several bases, whether the Okinawans wanted them or not. Civilian photography was restricted. Christy explains, “WWII in Okinawa was immensely destructive of the heritage landscape: archives, images, not to mention, of course, people.”\u003c/p>\n\u003cp>As part of Christy’s project, UC Santa Cruz students were asked to seek out the exact places where Gail shot his photos, and found some of the people he photographed are still alive, or at least remembered by people alive today.\u003c/p>\n\u003cp>“Crowds would gather around the photo — all the old folk, particularly, because these are photos from 70 years ago — and argue about where this photo was or wasn’t,” Christy says.\u003c/p>\n\u003cfigure id=\"attachment_13831450\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Okinawan-note1-800x450.jpg\" alt='Charles Gail wrote notes on the back of his photographs, like the one at the top of this article: \"This is a seed store. The old gent has made himself a pair of bifocals by taping two pairs of glasses together...You will notice he smokes Camel cigarettes with an ivory holder, and the dragon ash tray is Okinawan pottery.\"' width=\"800\" height=\"450\" class=\"size-medium wp-image-13831450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Charles Gail wrote notes on the back of his photographs, like the one at the top of this article: “This is a seed store. The old gent has made himself a pair of bifocals by taping two pairs of glasses together…You will notice he smokes Camel cigarettes with an ivory holder, and the dragon ash tray is Okinawan pottery.” \u003ccite>(Courtesy of UC Santa Cruz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“‘Ah, I remember those people, the people were were selling fish like that.’ You’d just get these great conversations and sit there and soak it in,” Christy says.\u003c/p>\n\u003cp>Gail focused his camera on long-suffering peasants carrying goods to market, fishermen hauling their catch onto the beach, and adorable children everywhere.\u003c/p>\n\u003cp>Now, a selection of his photos, as well as photos shot by students in the same locations, are on display at the \u003ca href=\"http://art.ucsc.edu/galleries/gail-project-okinawan-american-dialogue\" target=\"_blank\" rel=\"noopener\">Mary Porter Sesnon Art Gallery\u003c/a> at UC Santa Cruz.\u003c/p>\n\u003cfigure id=\"attachment_13831452\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Okinawan-note2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13831452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Some of the little children are now elders on Okinawa. Detail of photo by Charles Eugene Gail; c. 1952. \u003ccite>(Charles Eugene Gail)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Gail Project: An Okinawan-American Dialogue\u003c/em>, which includes 50 digital prints reprinted from the original 200 black and white photos, is being developed into a traveling exhibition.\u003c/p>\n\u003cp>The current exhibit also includes an online archive, with oral histories from Americans and Okinawans, as well as undergraduate research and writing.\u003c/p>\n\u003ch2>No “us” and “them” when the subjects are your relatives\u003c/h2>\n\u003cp>Among the student historians: Alexyss “Lex” McClellan, who’s majoring in history and critical race and ethnic studies. McClellan is also part Okinawan.\u003c/p>\n\u003cp>“Most of my family’s worldly possessions were destroyed during the battle, so photos are rare,” McClellan says. Her grandmother married an American serviceman and moved to San Diego.\u003c/p>\n\u003cfigure id=\"attachment_13831454\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Okinawan-note3-800x1108.jpg\" alt=\"Locating the exact spots where Charles Gail shot his photos in 1952 was no small feat. Take this shot of the Katsuren Peninsula, that now features a bridge. Supportive Okinawans helped the student historians from UC Santa Cruz figure out where to go.\" width=\"800\" height=\"1108\" class=\"size-medium wp-image-13831454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3-160x222.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3-768x1064.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3-240x332.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3-375x519.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3-520x720.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Locating the exact spots where Charles Gail shot his photos in 1952 was no small feat. Take this shot of the Katsuren Peninsula, that now features a bridge. Supportive Okinawans helped the student historians from UC Santa Cruz figure out where to go. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This project has been a blessing to me because it’s given me an opportunity — to talk to my grandmother, her sisters, her brother and the rest of my family on a level they empathize deeply with — and so for them to tell stories that I had never heard growing up,” McClellan says.\u003c/p>\n\u003cp>McClellan and her family are also enjoying an upwelling of pride at the attention UC Santa Cruz is paying to Okinawan culture. Outside of Japan, many people are not aware the islanders don’t consider themselves Japanese. Their neighbors to the north only took over Okinawa in 1609.\u003c/p>\n\u003cp>Okinawans speak different languages. Or rather, they did. After years of Japanese and American occupation, less than 10,000 people now speak some form of Okinawan. It’s just another way a distinctive indigenous culture fades into history.\u003c/p>\n\u003cp>McLellan says Gail wasn’t thinking about history when he took his photographs. “He was just taking pictures he thought other Americans might find anomalous or interesting. But to us, these are a gold mine.”\u003c/p>\n\u003cfigure id=\"attachment_13831455\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Okinawan-note4-800x450.jpg\" alt='Detail of \"Tattoos,\" by Charles Eugene Gail; c. 1952. \"Notice tattoos on her wrist, an old marrying custom,\" Gail wrote on the back. Old indeed. Japan banned the practice of hachiji in the late 19th century as part of an effort to suppress local customs. Women like this one were some of the last to wear these indigo tattoos for decades. The practice is now enjoying a resurgence on Okinawa.' width=\"800\" height=\"450\" class=\"size-medium wp-image-13831455\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of “Tattoos,” by Charles Eugene Gail; c. 1952. “Notice tattoos on her wrist, an old marrying custom,” Gail wrote on the back. Old indeed. Japan banned the practice of hachiji in the late 19th century as part of an effort to suppress local customs. Women like this one were some of the last to wear these indigo tattoos for decades. The practice is now enjoying a resurgence on Okinawa. \u003ccite>(Charles Eugene Gail)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Geri Gail, a former employee of UC Santa Cruz who always knew her dad was a talent, it’s a thrill to see his pictures archived in excellent company alongside prominent 20th century photographers in the university’s growing collection.\u003c/p>\n\u003cp>“It just gives me goose bumps. I’m so proud,” she says, looking at her father’s photos up on the wall at the Sesnon Gallery.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Gail Project: An Okinawan-American Dialogue’ is on view at the The Mary Porter Sesnon Art Gallery through Dec. 2, 2017. For more information, \u003ca href=\"https://gailproject.ucsc.edu\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "What's Foster Care Like? Learn From Youth Who Lived Through It.",
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"headTitle": "What’s Foster Care Like? Learn From Youth Who Lived Through It. | KQED",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">A San Francisco Bay Area museum is taking an unusual tack with an exhibition about foster youth in California. The \u003ca href=\"https://santacruzmah.org\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Cruz Museum of Art & History\u003c/a> invited a team of former foster youth and advocates to help put the show together.\u003c/span>\u003c/p>\n\u003cp>Five months before the show \u003ca href=\"https://santacruzmah.org/2016/lost-childhoods-july-7-2017-december-31-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Lost Childhoods\u003c/em>\u003c/a> went up, around a hundred former foster youth and advocates began meeting at the Santa Cruz Museum of Art & History to talk about what the exhibition would look like.\u003c/p>\n\u003cp>Community engagement director Stacey Garcia explains, “We are not experts in what foster youth have gone through, what they want to share. We know how to make an exhibition, but we don’t know how to tell their story. They do.”\u003c/p>\n\u003cp>Jess Prudent works as an outreach assistant with \u003ca href=\"https://santacruzgives.org/nonprofit/court-appointed-special-advocates-for-children-of-santa-cruz-county/\" target=\"_blank\" rel=\"noopener noreferrer\">Court Appointed Special Advocates of Santa Cruz County\u003c/a>, which supports children in foster care.\u003c/p>\n\u003cp>Prudent was skeptical at first that the museum wanted anything more than superficial advice from the \u003ca href=\"http://c3.santacruzmah.org/category/blog/\" target=\"_blank\" rel=\"noopener noreferrer\">Creative Community Committee (C3)\u003c/a>, but was soon won over by the hands-on curatorial process.\u003c/p>\n\u003cfigure id=\"attachment_13812516\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13812516\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-800x625.jpg\" alt=\""Sophia," (2014) by Ray Bussolari. It's no secret older foster children are less likely to be adopted. What may be less known is the fact siblings are split when a family decides to adopt one but not the other(s). \" width=\"800\" height=\"625\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-800x625.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-768x600.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-1020x797.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-1180x922.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-960x751.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-375x293.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-520x407.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Sophia,” (2014) by Ray Bussolari. It’s no secret older foster children are less likely to be adopted. What may be less known is the fact siblings are split when a family decides to adopt one but not the other(s). \u003ccite>(Photo: Courtesy of Ray Bussolari)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We were making every decision: like, the layout of this place, the art pieces that we included, the artists, even what the collaborating artists were going to focus on,” Prudent says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At the core of the exhibition is a collection of photographic portraits by \u003ca href=\"http://ray-bussolari.squarespace.com\" target=\"_blank\" rel=\"noopener noreferrer\">Ray Bussolari\u003c/a>, as well as artifacts from Oakland’s \u003ca href=\"https://fosteryouthmuseum.org\" target=\"_blank\" rel=\"noopener noreferrer\">Foster Youth Museum\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Garcia says the Santa Cruz Museum of Art & History added works by former foster youth who are on the museum’s advisory committee, as well as by local artists they got to choose.\u003c/span> “We really chose artists based on how willing they were to collaborate, and how much they wanted the youths’ voices to shine versus their own,” Garcia says.\u003c/p>\n\u003cp>Take “Interwoven Voices,” by Santa Cruz artist \u003ca href=\"https://www.melodyoverstreet.com\" target=\"_blank\" rel=\"noopener noreferrer\">Melody Overstreet\u003c/a>. It’s is a tapestry of messages from committee members, written on paper strips. This is one written by Prudent: “We’re not troubled kids. We’re kids with troubles.”\u003c/p>\n\u003cfigure id=\"attachment_13810987\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13810987 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-800x450.jpg\" alt=\"“Interwoven Voices,” by Santa Cruz artist Melody Overstreet is a tapestry of messages from Creative Community Committee members, written on paper strips.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">\u003cstrong>“Interwoven Voices,” by Santa Cruz artist \u003ca href=\"https://www.melodyoverstreet.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Melody Overstreet\u003c/a> is a tapestry of messages from Creative Community Committee members, written on paper strips.\u003c/strong> \u003ccite>(Photo: Courtesy of Meghan Puich/Santa Cruz Museum of Art & History)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jamie Lee Evans is the founder of the Foster Youth Museum. “There is no other exhibit like this,” Evans says. “This is the largest and probably only exhibition of artifacts, art and culture demonstrating the experience of foster care from a youth’s perspective.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s something\u003cem> Lost Childhoods\u003c/em> makes plain with personal mementos that highlight statistical truths. A college diploma and a photograph of a foster youth living in a dorm room at University of San Francisco is accompanied by a caption explaining that close to half of those who survive foster care will never graduate from high school, let alone university. A disproportionate number will instead become unemployed or even homeless when they “age out.” \u003c/span>\u003c/p>\n\u003cp>“I’ve been told from plenty of people that I know that coming here, they relate to things that they couldn’t before, whether or not they were in the foster care system,” says\u003cb> \u003c/b>Chad Platt, a transition age youth advocate at \u003ca href=\"http://www.encompasscs.org\" target=\"_blank\" rel=\"noopener noreferrer\">Encompass Community Services\u003c/a> and a former foster youth himself.\u003c/p>\n\u003cfigure id=\"attachment_13810992\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13810992 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-800x450.jpg\" alt=\"The local half of “Lost Childhoods” includes video interviews of former foster youth, paintings by them, and personal journals anyone can sit down and read. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The local half of “Lost Childhoods” includes video interviews of former foster youth, paintings by them, and personal journals anyone can sit down and read. \u003ccite>(Photo: Courtesy of Meghan Puich/Santa Cruz Museum of Art & History)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Museum visitor Diane Lamott from Aptos was moved by the show. “Heart wrenching. Emotional,” she said choking back tears. “Makes you wish you could have done something more to help.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But the show’s organizers want to do more than elicit sympathy from visitors. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Right at the entrance of the gallery, there’s a massive display of multi-colored “action cards.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Each one suggests one way to help foster youth. Bake a cake. Donate a pair of pajamas. Teach a teen to write a resume. Or, if you’re really inspired, volunteer as a court appointed special advocate.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13811071\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13811071\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-800x450.jpg\" alt=\"Pick a card, any card.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pick a card, any card. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Lost Childhoods is on view at the Santa Cruz Museum of Art & History through December 31, 2017. More info \u003ca href=\"https://santacruzmah.org/2016/lost-childhoods-july-7-2017-december-31-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"title": "What's Foster Care Like? Learn From Youth Who Lived Through It. | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">A San Francisco Bay Area museum is taking an unusual tack with an exhibition about foster youth in California. The \u003ca href=\"https://santacruzmah.org\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Cruz Museum of Art & History\u003c/a> invited a team of former foster youth and advocates to help put the show together.\u003c/span>\u003c/p>\n\u003cp>Five months before the show \u003ca href=\"https://santacruzmah.org/2016/lost-childhoods-july-7-2017-december-31-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Lost Childhoods\u003c/em>\u003c/a> went up, around a hundred former foster youth and advocates began meeting at the Santa Cruz Museum of Art & History to talk about what the exhibition would look like.\u003c/p>\n\u003cp>Community engagement director Stacey Garcia explains, “We are not experts in what foster youth have gone through, what they want to share. We know how to make an exhibition, but we don’t know how to tell their story. They do.”\u003c/p>\n\u003cp>Jess Prudent works as an outreach assistant with \u003ca href=\"https://santacruzgives.org/nonprofit/court-appointed-special-advocates-for-children-of-santa-cruz-county/\" target=\"_blank\" rel=\"noopener noreferrer\">Court Appointed Special Advocates of Santa Cruz County\u003c/a>, which supports children in foster care.\u003c/p>\n\u003cp>Prudent was skeptical at first that the museum wanted anything more than superficial advice from the \u003ca href=\"http://c3.santacruzmah.org/category/blog/\" target=\"_blank\" rel=\"noopener noreferrer\">Creative Community Committee (C3)\u003c/a>, but was soon won over by the hands-on curatorial process.\u003c/p>\n\u003cfigure id=\"attachment_13812516\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13812516\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-800x625.jpg\" alt=\""Sophia," (2014) by Ray Bussolari. It's no secret older foster children are less likely to be adopted. What may be less known is the fact siblings are split when a family decides to adopt one but not the other(s). \" width=\"800\" height=\"625\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-800x625.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-160x125.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-768x600.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-1020x797.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-1180x922.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-960x751.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-240x188.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-375x293.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27697_sophia_bear-qut-520x407.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Sophia,” (2014) by Ray Bussolari. It’s no secret older foster children are less likely to be adopted. What may be less known is the fact siblings are split when a family decides to adopt one but not the other(s). \u003ccite>(Photo: Courtesy of Ray Bussolari)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We were making every decision: like, the layout of this place, the art pieces that we included, the artists, even what the collaborating artists were going to focus on,” Prudent says.\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\">At the core of the exhibition is a collection of photographic portraits by \u003ca href=\"http://ray-bussolari.squarespace.com\" target=\"_blank\" rel=\"noopener noreferrer\">Ray Bussolari\u003c/a>, as well as artifacts from Oakland’s \u003ca href=\"https://fosteryouthmuseum.org\" target=\"_blank\" rel=\"noopener noreferrer\">Foster Youth Museum\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Garcia says the Santa Cruz Museum of Art & History added works by former foster youth who are on the museum’s advisory committee, as well as by local artists they got to choose.\u003c/span> “We really chose artists based on how willing they were to collaborate, and how much they wanted the youths’ voices to shine versus their own,” Garcia says.\u003c/p>\n\u003cp>Take “Interwoven Voices,” by Santa Cruz artist \u003ca href=\"https://www.melodyoverstreet.com\" target=\"_blank\" rel=\"noopener noreferrer\">Melody Overstreet\u003c/a>. It’s is a tapestry of messages from committee members, written on paper strips. This is one written by Prudent: “We’re not troubled kids. We’re kids with troubles.”\u003c/p>\n\u003cfigure id=\"attachment_13810987\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13810987 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-800x450.jpg\" alt=\"“Interwoven Voices,” by Santa Cruz artist Melody Overstreet is a tapestry of messages from Creative Community Committee members, written on paper strips.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27238_34228969223_5a8e023ac2_o-2-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">\u003cstrong>“Interwoven Voices,” by Santa Cruz artist \u003ca href=\"https://www.melodyoverstreet.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Melody Overstreet\u003c/a> is a tapestry of messages from Creative Community Committee members, written on paper strips.\u003c/strong> \u003ccite>(Photo: Courtesy of Meghan Puich/Santa Cruz Museum of Art & History)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jamie Lee Evans is the founder of the Foster Youth Museum. “There is no other exhibit like this,” Evans says. “This is the largest and probably only exhibition of artifacts, art and culture demonstrating the experience of foster care from a youth’s perspective.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s something\u003cem> Lost Childhoods\u003c/em> makes plain with personal mementos that highlight statistical truths. A college diploma and a photograph of a foster youth living in a dorm room at University of San Francisco is accompanied by a caption explaining that close to half of those who survive foster care will never graduate from high school, let alone university. A disproportionate number will instead become unemployed or even homeless when they “age out.” \u003c/span>\u003c/p>\n\u003cp>“I’ve been told from plenty of people that I know that coming here, they relate to things that they couldn’t before, whether or not they were in the foster care system,” says\u003cb> \u003c/b>Chad Platt, a transition age youth advocate at \u003ca href=\"http://www.encompasscs.org\" target=\"_blank\" rel=\"noopener noreferrer\">Encompass Community Services\u003c/a> and a former foster youth himself.\u003c/p>\n\u003cfigure id=\"attachment_13810992\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13810992 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-800x450.jpg\" alt=\"The local half of “Lost Childhoods” includes video interviews of former foster youth, paintings by them, and personal journals anyone can sit down and read. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27239_34999403246_cab262948e_o-2-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The local half of “Lost Childhoods” includes video interviews of former foster youth, paintings by them, and personal journals anyone can sit down and read. \u003ccite>(Photo: Courtesy of Meghan Puich/Santa Cruz Museum of Art & History)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Museum visitor Diane Lamott from Aptos was moved by the show. “Heart wrenching. Emotional,” she said choking back tears. “Makes you wish you could have done something more to help.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But the show’s organizers want to do more than elicit sympathy from visitors. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Right at the entrance of the gallery, there’s a massive display of multi-colored “action cards.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Each one suggests one way to help foster youth. Bake a cake. Donate a pair of pajamas. Teach a teen to write a resume. Or, if you’re really inspired, volunteer as a court appointed special advocate.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13811071\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13811071\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-800x450.jpg\" alt=\"Pick a card, any card.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/RS27337_IMG_3157-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pick a card, any card. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Lost Childhoods is on view at the Santa Cruz Museum of Art & History through December 31, 2017. More info \u003ca href=\"https://santacruzmah.org/2016/lost-childhoods-july-7-2017-december-31-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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