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"content": "\u003cp>Several entertainers have severed ties with the John F. Kennedy Center for the Performing Arts since President Trump assumed chairmanship of the organization.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/w-kamau-bell\">W. Kamau Bell\u003c/a> is not one of them.\u003c/p>\n\u003cp>The Emmy Award-winning stand-up comedian and host of the CNN series \u003cem>United Shades of America\u003c/em> chose not to cut ties or cancel his scheduled shows at the Kennedy Center, which marked the start of his 10-city tour across the country.\u003c/p>\n\u003cp>“I think Joe Biden was still running for president when the show was booked,” Bell told NPR’s Morning Edition. “So like, this was not connected to any of this.”\u003c/p>\n\u003cp>[aside postID='arts_13971920']\u003cem>Grey’s Anatomy\u003c/em> creator and \u003cem>How to Get Away with Murder\u003c/em> executive producer Shonda Rhimes \u003ca href=\"https://www.npr.org/2025/02/13/nx-s1-5297119/kennedy-center-trump-chair-shonda-rhimes\">announced her departure\u003c/a> from the Kennedy Center’s board last week. Rhimes had been on the board of the center \u003ca href=\"https://obamawhitehouse.archives.gov/realitycheck/the-press-office/2013/09/26/president-obama-announces-more-key-administration-posts\">since 2013 and was appointed\u003c/a> by former President Barack Obama. Actress and producer Issa Rae, who created and starred in HBO’s \u003cem>Insecure\u003c/em>, announced on Instagram that she would be canceling her sold-out appearance scheduled for March.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Trump appointed a new board of directors that includes second lady Usha Vance, Attorney General Pam Bondi and Elaine Chao, a former U.S. secretary of labor and the wife of Kentucky Sen. Mitch McConnell.\u003c/p>\n\u003cp>The president wants to move away from performances that he views as “woke culture,” which Trump believes the center has focused on in the past, according to \u003ca href=\"https://www.cbsnews.com/news/trump-reshaping-kennedy-center-board-performances/\">reporting from CBS News\u003c/a>.\u003c/p>\n\u003cp>W. Kamau Bell joined NPR’s Michel Martin to discuss his decision not to cancel his performance, despite disagreeing with the president’s politics and decision to take over the Kennedy Center.\u003c/p>\n\u003cp>This interview has been edited for length and clarity. \u003c/p>\n\u003cfigure id=\"attachment_13861651\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e.jpg\" alt=\"\" width=\"2048\" height=\"1359\" class=\"size-full wp-image-13861651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-1200x796.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-1920x1274.jpg 1920w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">The John F. Kennedy Center for the Performing Arts, pictured in 2014. \u003ccite>(Mandel Ngan/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Michel Martin: So tell me again how you heard about what happened?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Kamau Bell\u003c/strong>: Trump had already said that he was going to take over, but nobody knew what that meant. And so on the flight [to Washington, D.C.] I got the wi-fi, as I always do, and I started getting emails and texts from people about it, and it was just like a clear sense of like, oh, something’s happened, you know?\u003c/p>\n\u003cp>\u003cstrong>Had you performed at the Kennedy Center before, and if you hadn’t, either way, why did you want to go?\u003c/strong>\u003c/p>\n\u003cp>I did a show there years ago in one of the smaller rooms, so I have a lot of respect for the Kennedy Center, and you can’t help but feel how cool it is to be there even as an audience member. You sort of feel like a bona fide winner at the Kennedy Center. There’s something about like, nobody’s going to tell me I’m not an artist of note ever again, you know?\u003c/p>\n\u003cp>\u003cstrong>So you and the comedian who opened for you, Dwayne Kennedy, made jokes about the whole situation. He said something like, “Welcome to the last time two Black guys are going to be at the Kennedy Center.” And you said something along the lines of, “my kids like to eat every day, so that’s why I’m here.” But seriously, what were your thoughts about it? Did you ever consider canceling or not going on?\u003c/strong>\u003c/p>\n\u003cp>I mean, so the people at the Kennedy Center reached out because they were sort of almost preparing for me to cancel. But for me, I’m connected to it as a Black person, to all this history in my family of showing up. So I knew there was never a point at which I thought about not showing up.\u003c/p>\n\u003cp>Also, let’s remember, the Kennedy Center is in a city called Washington, D.C. So as much as MAGA runs the White House, maybe they don’t run Washington, D.C. And Washington, D.C., has always been a bright blue, progressive place. If you want to move the White House to Branson, Mo., understandably you would program the Kennedy Center in a different way.\u003c/p>\n\u003cp>[aside postID='arts_13971948']\u003cstrong>Say more about the decision to go or not to go, because there are people who know your work, know that you are a comedian, but you’re also a social commentator, you are an activist. You make it very clear what your politics are. So just tell me about what the thought process is in deciding how to engage with the moment.\u003c/strong>\u003c/p>\n\u003cp>If the Kennedy Center called me this week and said, “Do you want to do a show at the Kennedy Center?” that would have been maybe a different decision. I might have still done it, but it’s a different decision. I’ve been planning this for months, you know what I mean? And so on some level, it’s like I, the performer, want to do the thing that I’ve been looking forward to.\u003c/p>\n\u003cp>Then there’s a part of me that knows my audience — specifically in times of stress and pain and controversy — actually wants to hear from me. And some of it is about showing up and being my full self, as my mom taught me. As the Bay Area raised me to be. As my — as I want my kids to see me being in that space at that time.\u003c/p>\n\u003cp>\u003cstrong>Is there any part of you that worries that you’re validating things you don’t agree with by being in that space?\u003c/strong>\u003c/p>\n\u003cp>Not if I am my Black-ass self. And I don’t mean to swear. But if I can be myself in these spaces, then I’m doing what I’m supposed to be doing.\u003c/p>\n\u003cp>\u003cstrong>There are a lot of people thinking about what their role is at this moment. What would you say your work is right now, and what would you advise other people to do who are sort of struggling with how they should show up or where they should show up or what they should be doing?\u003c/strong>\u003c/p>\n\u003cp>My whole career, at least for the last 15 years or so, has been about earning a living, but also making sure it’s easier for the person behind me who either looks like me or is aligned with me. For me, I have to be loud and to be as clear as possible for the people who can’t be loud and clear. And I got to take care of my family. But that does mean that sometimes — and I have done this for years, turned down things that were going to pay me because I can’t be over there, because I don’t think over there I can be my Black-ass self.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>People say to stay in your lane and we go, “No, no. \u003cem>Know\u003c/em> your lane.” What can you do in the lane that you’re already in that can help make it easier on somebody who can’t do the work that you can do? That’s where it starts. People are like, “I’m going to go back to law school.” No, no, no. What are you doing now? “I’m going to start a nonprofit.” No, no, no. What are you doing now? And how can you start making that lane more equitable, more inclusive, more diverse where you are?\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Trump appointed a new board of directors that includes second lady Usha Vance, Attorney General Pam Bondi and Elaine Chao, a former U.S. secretary of labor and the wife of Kentucky Sen. Mitch McConnell.\u003c/p>\n\u003cp>The president wants to move away from performances that he views as “woke culture,” which Trump believes the center has focused on in the past, according to \u003ca href=\"https://www.cbsnews.com/news/trump-reshaping-kennedy-center-board-performances/\">reporting from CBS News\u003c/a>.\u003c/p>\n\u003cp>W. Kamau Bell joined NPR’s Michel Martin to discuss his decision not to cancel his performance, despite disagreeing with the president’s politics and decision to take over the Kennedy Center.\u003c/p>\n\u003cp>This interview has been edited for length and clarity. \u003c/p>\n\u003cfigure id=\"attachment_13861651\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e.jpg\" alt=\"\" width=\"2048\" height=\"1359\" class=\"size-full wp-image-13861651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-1200x796.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/kc-facade_custom-6e10585be09bbae0259652ca0c324b6c7dbb607e-1920x1274.jpg 1920w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">The John F. Kennedy Center for the Performing Arts, pictured in 2014. \u003ccite>(Mandel Ngan/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Michel Martin: So tell me again how you heard about what happened?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Kamau Bell\u003c/strong>: Trump had already said that he was going to take over, but nobody knew what that meant. And so on the flight [to Washington, D.C.] I got the wi-fi, as I always do, and I started getting emails and texts from people about it, and it was just like a clear sense of like, oh, something’s happened, you know?\u003c/p>\n\u003cp>\u003cstrong>Had you performed at the Kennedy Center before, and if you hadn’t, either way, why did you want to go?\u003c/strong>\u003c/p>\n\u003cp>I did a show there years ago in one of the smaller rooms, so I have a lot of respect for the Kennedy Center, and you can’t help but feel how cool it is to be there even as an audience member. You sort of feel like a bona fide winner at the Kennedy Center. There’s something about like, nobody’s going to tell me I’m not an artist of note ever again, you know?\u003c/p>\n\u003cp>\u003cstrong>So you and the comedian who opened for you, Dwayne Kennedy, made jokes about the whole situation. He said something like, “Welcome to the last time two Black guys are going to be at the Kennedy Center.” And you said something along the lines of, “my kids like to eat every day, so that’s why I’m here.” But seriously, what were your thoughts about it? Did you ever consider canceling or not going on?\u003c/strong>\u003c/p>\n\u003cp>I mean, so the people at the Kennedy Center reached out because they were sort of almost preparing for me to cancel. But for me, I’m connected to it as a Black person, to all this history in my family of showing up. So I knew there was never a point at which I thought about not showing up.\u003c/p>\n\u003cp>Also, let’s remember, the Kennedy Center is in a city called Washington, D.C. So as much as MAGA runs the White House, maybe they don’t run Washington, D.C. And Washington, D.C., has always been a bright blue, progressive place. If you want to move the White House to Branson, Mo., understandably you would program the Kennedy Center in a different way.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>Say more about the decision to go or not to go, because there are people who know your work, know that you are a comedian, but you’re also a social commentator, you are an activist. You make it very clear what your politics are. So just tell me about what the thought process is in deciding how to engage with the moment.\u003c/strong>\u003c/p>\n\u003cp>If the Kennedy Center called me this week and said, “Do you want to do a show at the Kennedy Center?” that would have been maybe a different decision. I might have still done it, but it’s a different decision. I’ve been planning this for months, you know what I mean? And so on some level, it’s like I, the performer, want to do the thing that I’ve been looking forward to.\u003c/p>\n\u003cp>Then there’s a part of me that knows my audience — specifically in times of stress and pain and controversy — actually wants to hear from me. And some of it is about showing up and being my full self, as my mom taught me. As the Bay Area raised me to be. As my — as I want my kids to see me being in that space at that time.\u003c/p>\n\u003cp>\u003cstrong>Is there any part of you that worries that you’re validating things you don’t agree with by being in that space?\u003c/strong>\u003c/p>\n\u003cp>Not if I am my Black-ass self. And I don’t mean to swear. But if I can be myself in these spaces, then I’m doing what I’m supposed to be doing.\u003c/p>\n\u003cp>\u003cstrong>There are a lot of people thinking about what their role is at this moment. What would you say your work is right now, and what would you advise other people to do who are sort of struggling with how they should show up or where they should show up or what they should be doing?\u003c/strong>\u003c/p>\n\u003cp>My whole career, at least for the last 15 years or so, has been about earning a living, but also making sure it’s easier for the person behind me who either looks like me or is aligned with me. For me, I have to be loud and to be as clear as possible for the people who can’t be loud and clear. And I got to take care of my family. But that does mean that sometimes — and I have done this for years, turned down things that were going to pay me because I can’t be over there, because I don’t think over there I can be my Black-ass self.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>People say to stay in your lane and we go, “No, no. \u003cem>Know\u003c/em> your lane.” What can you do in the lane that you’re already in that can help make it easier on somebody who can’t do the work that you can do? That’s where it starts. People are like, “I’m going to go back to law school.” No, no, no. What are you doing now? “I’m going to start a nonprofit.” No, no, no. What are you doing now? And how can you start making that lane more equitable, more inclusive, more diverse where you are?\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "It Just Got a Little Easier to Film a Movie in Oakland",
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"content": "\u003cp>Filmmakers wanting to shoot in Oakland got a boost Tuesday as the Oakland City Council formally voted in a city-managed film rebate program.\u003c/p>\n\u003cp>The Oakland Film Initiative will provide a 10% rebate on qualified local spending in film production, including costs associated with purchased or rented items, contracted services and wages for local residents. \u003c/p>\n\u003cp>An additional 2.5% rebate will be available to film productions with a budget of at least $250,000 which spend production funds in zip codes with high unemployment or at a worker-owned co-op. \u003c/p>\n\u003cp>[aside postID='arts_13870719']Despite the prominence of locally filmed movies like \u003cem>Blindspotting\u003c/em> and \u003cem>Sorry to Bother You\u003c/em>, both released in 2018, filming in Oakland has taken a nosedive. Film permits issued in the city have decreased from a high of 247 permits in 2019 to just 74 permits in 2023. (Oakland-set scenes in \u003cem>Black Panther\u003c/em> were filmed in Atlanta.)\u003c/p>\n\u003cp>The initiative is similar to rebate or tax credit programs in San Francisco, San Antonio, New Orleans and Oklahoma City. The amendment to the city code was crafted with strong involvement by Samatha Bempong of the the \u003ca href=\"https://www.youtube.com/playlist?list=PLblGGfZj_RYHir9u8jFn4LV3lkLcKNWnE\">East Bay Film Collective\u003c/a>, whose cofounders include comedian W. Kamau Bell, the Center for Cultural Power’s president Favianna Rodriguez, actor and producer Rafael Casal, filmmaker Cheryl Dunye, filmmaker Peter Nicks and pastor Michael McBride’s Live Free organization. \u003c/p>\n\u003cfigure id=\"attachment_13837233\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C.jpg\" alt=\"two men in movers uniforms\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13837233\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Daveed Diggs and Rafael Casal in a still from ‘Blindspotting.’ \u003ccite>(Ariel Nava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One week before the council’s initial vote, Steph Curry’s multimedia company Unanimous Media and collective Thirty Ink joined the group, giving the initiative high-profile support. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On top of the additional 2.5% rebate for working in certain zip codes and with worker-owned collectives, “we wanted to make sure to exclude commercials from the smaller productions carve-out,” said Greg Minor of the city’s Economic Workforce Development Department, just before the initial vote on July 2. \u003c/p>\n\u003cp>According to the amendment’s text: “Film permittees producing commercial advertising shall not be eligible for a rebate under this provision.”\u003c/p>\n\u003cp>Minor noted that another late change was to set aside 10% of the city’s rebate funds to productions with a lower budget, between $50,000 and $250,000, “to support documentaries and smaller productions.”\u003c/p>\n\u003cp>In addition to incentivizing filmmakers, Councilmember Treva Reid cited the ordinance’s overall financial benefits. “I believe that this decision that we’re making today will help us secure more grants, more industry incentives, and more state funding,” Reid said. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A final vote on the initiative passed unanimously on July 16.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Despite the prominence of locally filmed movies like \u003cem>Blindspotting\u003c/em> and \u003cem>Sorry to Bother You\u003c/em>, both released in 2018, filming in Oakland has taken a nosedive. Film permits issued in the city have decreased from a high of 247 permits in 2019 to just 74 permits in 2023. (Oakland-set scenes in \u003cem>Black Panther\u003c/em> were filmed in Atlanta.)\u003c/p>\n\u003cp>The initiative is similar to rebate or tax credit programs in San Francisco, San Antonio, New Orleans and Oklahoma City. The amendment to the city code was crafted with strong involvement by Samatha Bempong of the the \u003ca href=\"https://www.youtube.com/playlist?list=PLblGGfZj_RYHir9u8jFn4LV3lkLcKNWnE\">East Bay Film Collective\u003c/a>, whose cofounders include comedian W. Kamau Bell, the Center for Cultural Power’s president Favianna Rodriguez, actor and producer Rafael Casal, filmmaker Cheryl Dunye, filmmaker Peter Nicks and pastor Michael McBride’s Live Free organization. \u003c/p>\n\u003cfigure id=\"attachment_13837233\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C.jpg\" alt=\"two men in movers uniforms\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13837233\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Daveed Diggs and Rafael Casal in a still from ‘Blindspotting.’ \u003ccite>(Ariel Nava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One week before the council’s initial vote, Steph Curry’s multimedia company Unanimous Media and collective Thirty Ink joined the group, giving the initiative high-profile support. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On top of the additional 2.5% rebate for working in certain zip codes and with worker-owned collectives, “we wanted to make sure to exclude commercials from the smaller productions carve-out,” said Greg Minor of the city’s Economic Workforce Development Department, just before the initial vote on July 2. \u003c/p>\n\u003cp>According to the amendment’s text: “Film permittees producing commercial advertising shall not be eligible for a rebate under this provision.”\u003c/p>\n\u003cp>Minor noted that another late change was to set aside 10% of the city’s rebate funds to productions with a lower budget, between $50,000 and $250,000, “to support documentaries and smaller productions.”\u003c/p>\n\u003cp>In addition to incentivizing filmmakers, Councilmember Treva Reid cited the ordinance’s overall financial benefits. “I believe that this decision that we’re making today will help us secure more grants, more industry incentives, and more state funding,” Reid said. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A final vote on the initiative passed unanimously on July 16.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Our Picks for the 2023 Bay Area Book Festival",
"headTitle": "Our Picks for the 2023 Bay Area Book Festival | KQED",
"content": "\u003cp>While certain themes usually emerge during the \u003ca href=\"https://www.baybookfest.org/\">Bay Area Book Festival\u003c/a>, now in its ninth year, the stacked two-day program always has a bit of something for everyone — whether you’re looking for \u003ca href=\"https://www.baybookfest.org/session/science-fiction-space-exploration/\">world-expanding sci-fi\u003c/a>, \u003ca href=\"https://www.baybookfest.org/session/do-the-work/\">anti-racist instruction\u003c/a>, an \u003ca href=\"https://www.baybookfest.org/session/scavenger-hunt/\">IRL \u003ci>Where’s Waldo\u003c/i> hunt\u003c/a> or your next \u003ca href=\"https://www.baybookfest.org/session/finding-nature-saving-time/\">contemplative read\u003c/a>.\u003c/p>\n\u003cp>Hosting nearly 300 authors on indoor and outdoor stages May 6 and 7 alongside literary exhibitors, food vendors and a youth expo, the Bay Area Book Festival is completely free to attend, save for ticketed events featuring \u003ca href=\"https://www.baybookfest.org/session/joan-baez/\">Joan Baez\u003c/a> and \u003ca href=\"https://www.baybookfest.org/session/do-the-work/\">W. Kamau Bell\u003c/a>. Expect enthusiastic crowds, and avoid driving if you can — parking will be hard to come by.\u003c/p>\n\u003cp>Below, find the KQED Arts & Culture team’s recommendations for the weekend, and be sure to \u003ca href=\"https://www.baybookfest.org/schedule23/\">check out the full weekend schedule\u003c/a>.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.baybookfest.org/session/seen-and-unseen/\">Seen and Unseen: New Glimpses of Japanese Incarceration\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Saturday, May 6, 11–11:45 a.m.\u003cbr>\nBerkeley Public Library, Community Meeting Room (2090 Kittredge St.)\u003c/i>\u003c/p>\n\u003cp>Last year, two beautifully illustrated works about the imprisonment of Japanese Americans during World War II were released by two Bay Area authors.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Elizabeth Partridge’s \u003ci>\u003ca href=\"https://www.elizabethpartridge.com/young/seenandunseed\">Seen and Unseen\u003c/a>\u003c/i> (illustrated by Lauren Tamaki) uses the documentary photos of Dorothea Lange, Ansel Adams and Toyo Miyatake — a photographer who endured incarceration alongside 120,000 other Japanese Americans — to tell the story of this great injustice from three different angles. It demonstrates to readers how the ways Lange, Adams and Miyatake each captured scenes at the camps reflected their own perspectives on what was happening.\u003c/p>\n\u003cp>[aside postID='arts_13927861']Meanwhile, Maggie Tokuda-Hall’s \u003ci>\u003ca href=\"https://www.penguinrandomhouse.com/books/688897/love-in-the-library-by-maggie-tokuda-hall-illustrated-by-yas-imamura/\">Love in the Library\u003c/a>\u003c/i> (illustrated by Yas Imamura) tells the story of the author’s grandparents — a couple who somehow found love while incarcerated, over the stacks of books that offered them some semblance of escape. Tokuda-Hall recently \u003ca href=\"https://www.kqed.org/arts/13927861/scholastic-wanted-to-license-her-childrens-book-if-she-cut-a-part-about-racism\">turned down a licensing deal\u003c/a> from Scholastic after the publisher asked her to remove a reference to “the deeply American tradition of racism” from her author’s note.\u003c/p>\n\u003cp>Both books take an unthinkable period from recent history and make it relatable and engaging for young readers. Both honor the people who lived and died in those camps. And both question what it means to be a “good American.”\u003c/p>\n\u003cp>The Bay Area Book Festival’s decision to pair these two authors for a deeper conversation about \u003ci>Seen and Unseen\u003c/i>, then, is a stroke of brilliance. Partridge and Tokuda-Hall will be discussing how history is shaped by those chosen to document it and how power imbalances impact the narratives we leave behind. This fascinating event is suitable for an audiences of all ages. — \u003ci>Rae Alexandra\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13928492\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928492\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/NatureWriting.jpg\" alt=\"Three book covers laid out side by side\" width=\"1920\" height=\"942\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NatureWriting.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NatureWriting-800x393.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NatureWriting-1020x500.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NatureWriting-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NatureWriting-768x377.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NatureWriting-1536x754.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Authors Tom Commita, Talia Lakshmi Kolluri and Erica Berry appear together on a panel at the Magnes Museum. \u003ccite>(Covers courtesy of Coffee House Press, Tin House and Macmillan Publishers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.baybookfest.org/session/nature-writing/\">The Beauty and Urgency of Nature Writing\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Saturday, May 6, 11 a.m.–12 p.m.\u003cbr>\nThe Magnes Museum, Auditorium (2121 Allston Way)\u003c/i>\u003c/p>\n\u003cp>Those first few months of the pandemic hit me hard. \u003ci>Is spring always this glorious?\u003c/i> I wondered as I rambled along previously unknown paths in Golden Gate Park. The answer, of course, was yes. I just hadn’t been paying attention until I was forced — by the closure of all indoor spaces — to actually take stock of the blossoms, animals and shifting weather patterns around me.\u003c/p>\n\u003cp>Thankfully, authors Tom Comitta, Erica Berry and Talia Lakshmi Kolluri are far more observant than I am, and they’ve turned their focus to nature writing, a category as expansive in form as the subject it covers. Comitta’s \u003ci>\u003ca href=\"https://coffeehousepress.org/products/the-nature-book\">The Nature Book\u003c/a>\u003c/i> collages together nature writing from over 300 existing English-language novels — a method they call the “literary supercut.” By subtracting all references to the human world, Comitta challenges our anthropocentric view while also archiving the many ways we have, over time, written about nature.\u003c/p>\n\u003cp>Kolluri likewise commits to inventively shifting her readers’ focus. In \u003ci>\u003ca href=\"https://tinhouse.com/book/what-we-fed-to-the-manticore/\">What We Fed to the Manticore\u003c/a>\u003c/i>, short stories are told from the points of view of different animals, including vultures dining on an antelope in Central Asia. And Berry’s book, \u003ci>\u003ca href=\"https://us.macmillan.com/books/9781250821621/wolfish\">Wolfish: Wolf, Self, and the Stories We Tell About Fear\u003c/a>\u003c/i> uses wolves both real and metaphorical to examine what it means to be brave in a changing, damaged world. If all of the above wasn’t intriguing enough, this panel discussion will be moderated by KQED’s own community reporter \u003ca href=\"https://www.kqed.org/author/ccabreralomeli\">Carlos Cabrera-Lomelí\u003c/a>. — \u003ci>Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13875123\" class=\"wp-caption aligncenter\" style=\"max-width: 1616px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875123\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/DSC8425.jpg\" alt=\"An older Black woman with short hair wears glasses, a pink sweater and a light scarf, smiling in a library\" width=\"1616\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/DSC8425.jpg 1616w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/DSC8425-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/DSC8425-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/DSC8425-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/DSC8425-1020x682.jpg 1020w\" sizes=\"(max-width: 1616px) 100vw, 1616px\">\u003cfigcaption class=\"wp-caption-text\">Dorothy Lazard, former head librarian of the Oakland Public Library’s History Center, pictured in 2020. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.baybookfest.org/session/a-life-in-books/\">A Life In Books\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Saturday May 6, 11 a.m.–12 p.m.\u003cbr>\nThe Marsh Theater (2120 Allston Way)\u003c/i>\u003c/p>\n\u003cp>In her forthcoming memoir, \u003ci>\u003ca href=\"https://www.heydaybooks.com/catalog/what-you-dont-know-will-make-a-whole-new-world/\">What You Don’t Know Will Make a Whole New World\u003c/a>\u003c/i>, beloved retired Oakland librarian and historian Dorothy Lazard opens with the period in her adolescence when she fell in love with reading. As a young person, she found a safe haven in her local library, diving into pages of books to escape the issues she was facing at home. Those years laid the foundation for a career in literature.\u003c/p>\n\u003cp>[aside postID='forum_2010101887349'] On this panel Lazard is joined by essayist, playwright and author Joan Frank, as well as Pulitzer Prize-winning author Jane Smiley. All three speakers have led amazing lives full of stories, and will be sharing their wisdom when it comes to accessing the power of words, the magic of writing and the wonders of reading. Hosted by author John Freeman, this conversation will center the beauty of living a life dedicated to the written word. — \u003ci>Pendarvis Harshaw\u003c/i>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.baybookfest.org/session/noir-at-the-bar-23/\">Noir at the Bar\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Saturday, May 6, 5:30–7 p.m.\u003cbr>\nCornerstone Berkeley (2367 Shattuck Ave.)\u003c/i>\u003c/p>\n\u003cp>While there’s plenty of offerings at the festival to get young people excited about reading, there’s also a time and place for, ahem, more adult matters. Look no further than this lineup of mystery and thriller writers that lets those 21 and above journey through time and space (like with Rina Ayuyang’s \u003ca href=\"https://drawnandquarterly.com/books/the-man-in-the-macintosh-suit/\">Depression-era graphic novel\u003c/a> about Filipino immigrants in rural California) in the cozy comfort of a Shattuck Avenue bar. The event, which also features readings from authors Mary Robinette Kwal, Marcie Rendon, T. Jefferson Parker, Kwei Quartey and Margot Douaihy, is emceed by Randal Brandt, curator of the California Detective Fiction Collection at the Bancroft Library. Talk about amazing jobs. One Dark ‘n’ Stormy, please! — \u003ci>Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13928484\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928484\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Alphabet-Rockers-6-performers-Nino-Fernandez_1200.jpg\" alt=\"Three adults and three teens in brightly colored clothes pose and smile at camera\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Alphabet-Rockers-6-performers-Nino-Fernandez_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Alphabet-Rockers-6-performers-Nino-Fernandez_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Alphabet-Rockers-6-performers-Nino-Fernandez_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Alphabet-Rockers-6-performers-Nino-Fernandez_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Alphabet-Rockers-6-performers-Nino-Fernandez_1200-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Grammy-winning Alphabet Rockers. \u003ccite>(Nino Fernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.baybookfest.org/session/alphabet-rockers-musical-performance/\">Alphabet Rockers\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Saturday, May 6, 2–2:45 p.m.\u003cbr>\nBART Plaza Stage (Shattuck & Allston)\u003c/i>\u003c/p>\n\u003cp>After being nominated for Grammy Awards two previous times, it was the Alphabet Rockers’ 2022 album, \u003ci>The Movement\u003c/i>, that brought home the gold earlier this year. Led by Kaitlin McGaw and Tommy Soulati Shepherd, the stars of the show are the three teenagers of the group, Kali de Jesus, Tommy Shepherd III and Maya Fleming.\u003c/p>\n\u003cp>[aside postID='arts_13856498'] The Oakland-based collective makes fresh music that has the foundational sound of hip-hop, the energy of rock and roll, and the messages we need to hear if we’re going to have a brighter future. If you’re around midday and need a break from using big words to talk about small books with enormous ideas, then I’d suggest watching this group get down. — \u003ci>Pendarvis Harshaw\u003c/i>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.baybookfest.org/session/rest-is-resistance/\">Tricia Hersey: Rest is Resistance\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sunday, May 7, 2–3 p.m.\u003cbr>\nFreight & Salvage (2020 Addison St.)\u003c/i>\u003c/p>\n\u003cp>[aside postID='arts_13870917'] I love taking naps. But I never thought about them as forms of resistance or reparations until I encountered the work of \u003ca href=\"http://www.triciahersey.com/\">Tricia Hersey\u003c/a>, aka The Nap Bishop. \u003ci>You mean I’m\u003c/i> not \u003ci>lazy for preferring naps over “grind culture”? And I\u003c/i> should \u003ci>be daydreaming more?\u003c/i> Her frameworks around rest, detailed in her bestselling book, \u003ci>\u003ca href=\"https://www.hachettebookgroup.com/titles/tricia-hersey/rest-is-resistance/9780316365536/\">Rest is Resistance: A Manifesto\u003c/a>\u003c/i>, are as empowering as they are paradigm-shifting.\u003c/p>\n\u003cp>Hersey very much practices what she preaches, so her media appearances and interviews are intentionally few and far between — which means this is a prime opportunity for fans of her work and curious folk to take advantage of her visit to the Bay Area. That she’ll be in conversation with Bay Area curator Ashara Ekundayo, who leads the organization \u003ca href=\"https://www.artistasfirstresponder.com/\">Artist as First Responder\u003c/a>, makes the opportunity even sweeter. — \u003ci>Ariana Proehl\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13928496\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928496\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Free-Books-BABF-Mike-Hitchner-8688x5792-2.jpg\" alt=\"\" width=\"1620\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Free-Books-BABF-Mike-Hitchner-8688x5792-2.jpg 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Free-Books-BABF-Mike-Hitchner-8688x5792-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Free-Books-BABF-Mike-Hitchner-8688x5792-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Free-Books-BABF-Mike-Hitchner-8688x5792-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Free-Books-BABF-Mike-Hitchner-8688x5792-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Free-Books-BABF-Mike-Hitchner-8688x5792-2-1536x1024.jpg 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">Readers browse the free books at a past Bay Area Books Festival. \u003ccite>(Mike Hitchner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Briefly Noted\u003c/h2>\n\u003cp>\u003ca href=\"https://www.baybookfest.org/session/hidden-histories/\">\u003cb>Hidden Histories\u003c/b>\u003c/a>\u003cbr>\n\u003ci>Saturday, May 6, 4–5 p.m. at the Brower Center’s Tamalpais Room (2150 Allston Way)\u003c/i>\u003cbr>\nKQED’s Ariana Proehl moderates a conversation on Saturday, May 6 with journalist Jori Lewis (\u003ci>\u003ca href=\"https://thenewpress.com/books/slaves-for-peanuts\">Slaves for Peanuts\u003c/a>\u003c/i>) and Swiss author Dorothee Elmiger (\u003ci>\u003ca href=\"https://www.catranslation.org/shop/book/out-of-the-sugar-factory/\">Out of the Sugar Factory\u003c/a>\u003c/i>) about the hidden histories of the peanut and sugar industries.\u003c/p>\n\u003cp>\u003cb>Emil DeAndreis tabling for \u003ci>\u003ca href=\"https://www.flexiblepub.com/tell-us-when-to-go\">Tell Us When To Go\u003c/a>\u003c/i>\u003c/b>\u003cbr>\n\u003ci>Sunday, May 7, 11 a.m.–5 p.m. at Booth #112 on Allston Way\u003c/i>\u003cbr>\nIn a world of technology, big business and gentrification, friendship is more valuable and unfortunately more volatile than ever. Through a unique lens, Emil DeAndreis brings readers into a coming-of-age tale based on the real-life changes happening to the place he calls home. Through the divergent stories of two friends, the reader gets a sense of the dichotomies that exist in the Bay Area, as well as the influence of tech companies and local hip-hop culture.\u003c/p>\n\u003cp>\u003ca href=\"https://www.baybookfest.org/session/parable-of-the-sower-turns-30/\">\u003cb>‘Parable of the Sower’ Turns 30\u003c/b>\u003c/a>\u003cbr>\n\u003ci>Sunday, May 7, 2:30–3:30 p.m. at the Brower Center’s Tamalpais Room (2150 Allston Way)\u003c/i>\u003cbr>\nPoets Camille Dungy and Ashia Ajani and novelist Aya de Leon discuss Octavia Butler’s increasingly prescient sci-fi \u003ci>Parable of the Sower\u003c/i>. Moderated by Pinole mayor and climate organizer Devin T. Murphy, the panel promises to address current efforts at movement building to address the climate crisis.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://www.baybookfest.org/session/poetry-at-the-end-of-the-world/\">\u003cb>Poetry at the End of the World\u003c/b>\u003c/a>\u003cbr>\n\u003ci>Sunday, May 7, 3:30–4:30 p.m. at Freight & Salvage (2020 Addison St.)\u003c/i>\u003cbr>\nA panel of poets, including Saeed Jones (\u003ci>\u003ca href=\"https://coffeehousepress.org/products/alive-at-the-end-of-the-world\">Alive at the End of the World\u003c/a>\u003c/i>) and the El Cerrito-based Tess Taylor (\u003ci>\u003ca href=\"https://www.tess-taylor.com/the-forage-house\">The Forage House\u003c/a>\u003c/i>), contemplate the apocalyptic and the hopeful.\u003c/p>\n\n",
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"excerpt": "The literary bonanza on May 6 and 7 hosts nearly 300 authors — here's your guide to the weekend's best bets.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While certain themes usually emerge during the \u003ca href=\"https://www.baybookfest.org/\">Bay Area Book Festival\u003c/a>, now in its ninth year, the stacked two-day program always has a bit of something for everyone — whether you’re looking for \u003ca href=\"https://www.baybookfest.org/session/science-fiction-space-exploration/\">world-expanding sci-fi\u003c/a>, \u003ca href=\"https://www.baybookfest.org/session/do-the-work/\">anti-racist instruction\u003c/a>, an \u003ca href=\"https://www.baybookfest.org/session/scavenger-hunt/\">IRL \u003ci>Where’s Waldo\u003c/i> hunt\u003c/a> or your next \u003ca href=\"https://www.baybookfest.org/session/finding-nature-saving-time/\">contemplative read\u003c/a>.\u003c/p>\n\u003cp>Hosting nearly 300 authors on indoor and outdoor stages May 6 and 7 alongside literary exhibitors, food vendors and a youth expo, the Bay Area Book Festival is completely free to attend, save for ticketed events featuring \u003ca href=\"https://www.baybookfest.org/session/joan-baez/\">Joan Baez\u003c/a> and \u003ca href=\"https://www.baybookfest.org/session/do-the-work/\">W. Kamau Bell\u003c/a>. Expect enthusiastic crowds, and avoid driving if you can — parking will be hard to come by.\u003c/p>\n\u003cp>Below, find the KQED Arts & Culture team’s recommendations for the weekend, and be sure to \u003ca href=\"https://www.baybookfest.org/schedule23/\">check out the full weekend schedule\u003c/a>.\u003c/p>\n\u003ch2>\u003ca href=\"https://www.baybookfest.org/session/seen-and-unseen/\">Seen and Unseen: New Glimpses of Japanese Incarceration\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Saturday, May 6, 11–11:45 a.m.\u003cbr>\nBerkeley Public Library, Community Meeting Room (2090 Kittredge St.)\u003c/i>\u003c/p>\n\u003cp>Last year, two beautifully illustrated works about the imprisonment of Japanese Americans during World War II were released by two Bay Area authors.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Elizabeth Partridge’s \u003ci>\u003ca href=\"https://www.elizabethpartridge.com/young/seenandunseed\">Seen and Unseen\u003c/a>\u003c/i> (illustrated by Lauren Tamaki) uses the documentary photos of Dorothea Lange, Ansel Adams and Toyo Miyatake — a photographer who endured incarceration alongside 120,000 other Japanese Americans — to tell the story of this great injustice from three different angles. It demonstrates to readers how the ways Lange, Adams and Miyatake each captured scenes at the camps reflected their own perspectives on what was happening.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Meanwhile, Maggie Tokuda-Hall’s \u003ci>\u003ca href=\"https://www.penguinrandomhouse.com/books/688897/love-in-the-library-by-maggie-tokuda-hall-illustrated-by-yas-imamura/\">Love in the Library\u003c/a>\u003c/i> (illustrated by Yas Imamura) tells the story of the author’s grandparents — a couple who somehow found love while incarcerated, over the stacks of books that offered them some semblance of escape. Tokuda-Hall recently \u003ca href=\"https://www.kqed.org/arts/13927861/scholastic-wanted-to-license-her-childrens-book-if-she-cut-a-part-about-racism\">turned down a licensing deal\u003c/a> from Scholastic after the publisher asked her to remove a reference to “the deeply American tradition of racism” from her author’s note.\u003c/p>\n\u003cp>Both books take an unthinkable period from recent history and make it relatable and engaging for young readers. Both honor the people who lived and died in those camps. And both question what it means to be a “good American.”\u003c/p>\n\u003cp>The Bay Area Book Festival’s decision to pair these two authors for a deeper conversation about \u003ci>Seen and Unseen\u003c/i>, then, is a stroke of brilliance. Partridge and Tokuda-Hall will be discussing how history is shaped by those chosen to document it and how power imbalances impact the narratives we leave behind. This fascinating event is suitable for an audiences of all ages. — \u003ci>Rae Alexandra\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13928492\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928492\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/NatureWriting.jpg\" alt=\"Three book covers laid out side by side\" width=\"1920\" height=\"942\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NatureWriting.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NatureWriting-800x393.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NatureWriting-1020x500.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NatureWriting-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NatureWriting-768x377.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/NatureWriting-1536x754.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Authors Tom Commita, Talia Lakshmi Kolluri and Erica Berry appear together on a panel at the Magnes Museum. \u003ccite>(Covers courtesy of Coffee House Press, Tin House and Macmillan Publishers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.baybookfest.org/session/nature-writing/\">The Beauty and Urgency of Nature Writing\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Saturday, May 6, 11 a.m.–12 p.m.\u003cbr>\nThe Magnes Museum, Auditorium (2121 Allston Way)\u003c/i>\u003c/p>\n\u003cp>Those first few months of the pandemic hit me hard. \u003ci>Is spring always this glorious?\u003c/i> I wondered as I rambled along previously unknown paths in Golden Gate Park. The answer, of course, was yes. I just hadn’t been paying attention until I was forced — by the closure of all indoor spaces — to actually take stock of the blossoms, animals and shifting weather patterns around me.\u003c/p>\n\u003cp>Thankfully, authors Tom Comitta, Erica Berry and Talia Lakshmi Kolluri are far more observant than I am, and they’ve turned their focus to nature writing, a category as expansive in form as the subject it covers. Comitta’s \u003ci>\u003ca href=\"https://coffeehousepress.org/products/the-nature-book\">The Nature Book\u003c/a>\u003c/i> collages together nature writing from over 300 existing English-language novels — a method they call the “literary supercut.” By subtracting all references to the human world, Comitta challenges our anthropocentric view while also archiving the many ways we have, over time, written about nature.\u003c/p>\n\u003cp>Kolluri likewise commits to inventively shifting her readers’ focus. In \u003ci>\u003ca href=\"https://tinhouse.com/book/what-we-fed-to-the-manticore/\">What We Fed to the Manticore\u003c/a>\u003c/i>, short stories are told from the points of view of different animals, including vultures dining on an antelope in Central Asia. And Berry’s book, \u003ci>\u003ca href=\"https://us.macmillan.com/books/9781250821621/wolfish\">Wolfish: Wolf, Self, and the Stories We Tell About Fear\u003c/a>\u003c/i> uses wolves both real and metaphorical to examine what it means to be brave in a changing, damaged world. If all of the above wasn’t intriguing enough, this panel discussion will be moderated by KQED’s own community reporter \u003ca href=\"https://www.kqed.org/author/ccabreralomeli\">Carlos Cabrera-Lomelí\u003c/a>. — \u003ci>Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13875123\" class=\"wp-caption aligncenter\" style=\"max-width: 1616px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875123\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/DSC8425.jpg\" alt=\"An older Black woman with short hair wears glasses, a pink sweater and a light scarf, smiling in a library\" width=\"1616\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/DSC8425.jpg 1616w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/DSC8425-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/DSC8425-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/DSC8425-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/DSC8425-1020x682.jpg 1020w\" sizes=\"(max-width: 1616px) 100vw, 1616px\">\u003cfigcaption class=\"wp-caption-text\">Dorothy Lazard, former head librarian of the Oakland Public Library’s History Center, pictured in 2020. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.baybookfest.org/session/a-life-in-books/\">A Life In Books\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Saturday May 6, 11 a.m.–12 p.m.\u003cbr>\nThe Marsh Theater (2120 Allston Way)\u003c/i>\u003c/p>\n\u003cp>In her forthcoming memoir, \u003ci>\u003ca href=\"https://www.heydaybooks.com/catalog/what-you-dont-know-will-make-a-whole-new-world/\">What You Don’t Know Will Make a Whole New World\u003c/a>\u003c/i>, beloved retired Oakland librarian and historian Dorothy Lazard opens with the period in her adolescence when she fell in love with reading. As a young person, she found a safe haven in her local library, diving into pages of books to escape the issues she was facing at home. Those years laid the foundation for a career in literature.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> On this panel Lazard is joined by essayist, playwright and author Joan Frank, as well as Pulitzer Prize-winning author Jane Smiley. All three speakers have led amazing lives full of stories, and will be sharing their wisdom when it comes to accessing the power of words, the magic of writing and the wonders of reading. Hosted by author John Freeman, this conversation will center the beauty of living a life dedicated to the written word. — \u003ci>Pendarvis Harshaw\u003c/i>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.baybookfest.org/session/noir-at-the-bar-23/\">Noir at the Bar\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Saturday, May 6, 5:30–7 p.m.\u003cbr>\nCornerstone Berkeley (2367 Shattuck Ave.)\u003c/i>\u003c/p>\n\u003cp>While there’s plenty of offerings at the festival to get young people excited about reading, there’s also a time and place for, ahem, more adult matters. Look no further than this lineup of mystery and thriller writers that lets those 21 and above journey through time and space (like with Rina Ayuyang’s \u003ca href=\"https://drawnandquarterly.com/books/the-man-in-the-macintosh-suit/\">Depression-era graphic novel\u003c/a> about Filipino immigrants in rural California) in the cozy comfort of a Shattuck Avenue bar. The event, which also features readings from authors Mary Robinette Kwal, Marcie Rendon, T. Jefferson Parker, Kwei Quartey and Margot Douaihy, is emceed by Randal Brandt, curator of the California Detective Fiction Collection at the Bancroft Library. Talk about amazing jobs. One Dark ‘n’ Stormy, please! — \u003ci>Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13928484\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928484\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Alphabet-Rockers-6-performers-Nino-Fernandez_1200.jpg\" alt=\"Three adults and three teens in brightly colored clothes pose and smile at camera\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Alphabet-Rockers-6-performers-Nino-Fernandez_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Alphabet-Rockers-6-performers-Nino-Fernandez_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Alphabet-Rockers-6-performers-Nino-Fernandez_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Alphabet-Rockers-6-performers-Nino-Fernandez_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Alphabet-Rockers-6-performers-Nino-Fernandez_1200-768x513.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">The Grammy-winning Alphabet Rockers. \u003ccite>(Nino Fernandez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.baybookfest.org/session/alphabet-rockers-musical-performance/\">Alphabet Rockers\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Saturday, May 6, 2–2:45 p.m.\u003cbr>\nBART Plaza Stage (Shattuck & Allston)\u003c/i>\u003c/p>\n\u003cp>After being nominated for Grammy Awards two previous times, it was the Alphabet Rockers’ 2022 album, \u003ci>The Movement\u003c/i>, that brought home the gold earlier this year. Led by Kaitlin McGaw and Tommy Soulati Shepherd, the stars of the show are the three teenagers of the group, Kali de Jesus, Tommy Shepherd III and Maya Fleming.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> The Oakland-based collective makes fresh music that has the foundational sound of hip-hop, the energy of rock and roll, and the messages we need to hear if we’re going to have a brighter future. If you’re around midday and need a break from using big words to talk about small books with enormous ideas, then I’d suggest watching this group get down. — \u003ci>Pendarvis Harshaw\u003c/i>\u003c/p>\n\u003ch2>\u003ca href=\"https://www.baybookfest.org/session/rest-is-resistance/\">Tricia Hersey: Rest is Resistance\u003c/a>\u003c/h2>\n\u003cp>\u003ci>Sunday, May 7, 2–3 p.m.\u003cbr>\nFreight & Salvage (2020 Addison St.)\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> I love taking naps. But I never thought about them as forms of resistance or reparations until I encountered the work of \u003ca href=\"http://www.triciahersey.com/\">Tricia Hersey\u003c/a>, aka The Nap Bishop. \u003ci>You mean I’m\u003c/i> not \u003ci>lazy for preferring naps over “grind culture”? And I\u003c/i> should \u003ci>be daydreaming more?\u003c/i> Her frameworks around rest, detailed in her bestselling book, \u003ci>\u003ca href=\"https://www.hachettebookgroup.com/titles/tricia-hersey/rest-is-resistance/9780316365536/\">Rest is Resistance: A Manifesto\u003c/a>\u003c/i>, are as empowering as they are paradigm-shifting.\u003c/p>\n\u003cp>Hersey very much practices what she preaches, so her media appearances and interviews are intentionally few and far between — which means this is a prime opportunity for fans of her work and curious folk to take advantage of her visit to the Bay Area. That she’ll be in conversation with Bay Area curator Ashara Ekundayo, who leads the organization \u003ca href=\"https://www.artistasfirstresponder.com/\">Artist as First Responder\u003c/a>, makes the opportunity even sweeter. — \u003ci>Ariana Proehl\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_13928496\" class=\"wp-caption aligncenter\" style=\"max-width: 1620px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928496\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Free-Books-BABF-Mike-Hitchner-8688x5792-2.jpg\" alt=\"\" width=\"1620\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Free-Books-BABF-Mike-Hitchner-8688x5792-2.jpg 1620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Free-Books-BABF-Mike-Hitchner-8688x5792-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Free-Books-BABF-Mike-Hitchner-8688x5792-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Free-Books-BABF-Mike-Hitchner-8688x5792-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Free-Books-BABF-Mike-Hitchner-8688x5792-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Free-Books-BABF-Mike-Hitchner-8688x5792-2-1536x1024.jpg 1536w\" sizes=\"(max-width: 1620px) 100vw, 1620px\">\u003cfigcaption class=\"wp-caption-text\">Readers browse the free books at a past Bay Area Books Festival. \u003ccite>(Mike Hitchner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Briefly Noted\u003c/h2>\n\u003cp>\u003ca href=\"https://www.baybookfest.org/session/hidden-histories/\">\u003cb>Hidden Histories\u003c/b>\u003c/a>\u003cbr>\n\u003ci>Saturday, May 6, 4–5 p.m. at the Brower Center’s Tamalpais Room (2150 Allston Way)\u003c/i>\u003cbr>\nKQED’s Ariana Proehl moderates a conversation on Saturday, May 6 with journalist Jori Lewis (\u003ci>\u003ca href=\"https://thenewpress.com/books/slaves-for-peanuts\">Slaves for Peanuts\u003c/a>\u003c/i>) and Swiss author Dorothee Elmiger (\u003ci>\u003ca href=\"https://www.catranslation.org/shop/book/out-of-the-sugar-factory/\">Out of the Sugar Factory\u003c/a>\u003c/i>) about the hidden histories of the peanut and sugar industries.\u003c/p>\n\u003cp>\u003cb>Emil DeAndreis tabling for \u003ci>\u003ca href=\"https://www.flexiblepub.com/tell-us-when-to-go\">Tell Us When To Go\u003c/a>\u003c/i>\u003c/b>\u003cbr>\n\u003ci>Sunday, May 7, 11 a.m.–5 p.m. at Booth #112 on Allston Way\u003c/i>\u003cbr>\nIn a world of technology, big business and gentrification, friendship is more valuable and unfortunately more volatile than ever. Through a unique lens, Emil DeAndreis brings readers into a coming-of-age tale based on the real-life changes happening to the place he calls home. Through the divergent stories of two friends, the reader gets a sense of the dichotomies that exist in the Bay Area, as well as the influence of tech companies and local hip-hop culture.\u003c/p>\n\u003cp>\u003ca href=\"https://www.baybookfest.org/session/parable-of-the-sower-turns-30/\">\u003cb>‘Parable of the Sower’ Turns 30\u003c/b>\u003c/a>\u003cbr>\n\u003ci>Sunday, May 7, 2:30–3:30 p.m. at the Brower Center’s Tamalpais Room (2150 Allston Way)\u003c/i>\u003cbr>\nPoets Camille Dungy and Ashia Ajani and novelist Aya de Leon discuss Octavia Butler’s increasingly prescient sci-fi \u003ci>Parable of the Sower\u003c/i>. Moderated by Pinole mayor and climate organizer Devin T. Murphy, the panel promises to address current efforts at movement building to address the climate crisis.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.baybookfest.org/session/poetry-at-the-end-of-the-world/\">\u003cb>Poetry at the End of the World\u003c/b>\u003c/a>\u003cbr>\n\u003ci>Sunday, May 7, 3:30–4:30 p.m. at Freight & Salvage (2020 Addison St.)\u003c/i>\u003cbr>\nA panel of poets, including Saeed Jones (\u003ci>\u003ca href=\"https://coffeehousepress.org/products/alive-at-the-end-of-the-world\">Alive at the End of the World\u003c/a>\u003c/i>) and the El Cerrito-based Tess Taylor (\u003ci>\u003ca href=\"https://www.tess-taylor.com/the-forage-house\">The Forage House\u003c/a>\u003c/i>), contemplate the apocalyptic and the hopeful.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Five Extremely Bay Area Things to See at the 2023 SFFILM Festival",
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"headTitle": "Five Extremely Bay Area Things to See at the 2023 SFFILM Festival | KQED",
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"content": "\u003cp>The 66th \u003ca href=\"https://sffilm.org/\">San Francisco International Film Festival\u003c/a> is back for a fully in-person celebration of cinema, with 96 public programs spread across theaters in San Francisco, Oakland and Berkeley, April 13–23. While there’s plenty to be excited about — numerous world premieres, a free screening of \u003ci>\u003ca href=\"https://sffilm.org/event/community-screening-are-you-there-god-its-me-margaret/\">Are You There God, It’s Me Margaret\u003c/a>\u003c/i> (RSVPs required!), playwright Celine Song’s lovely looking \u003ci>\u003ca href=\"https://sffilm.org/event/centerpiece-past-lives/\">Past Lives\u003c/a>\u003c/i> — we’re most proud of the strong Bay Area showing.\u003c/p>\n\u003cp>We’ve got feature films from local filmmakers, documentaries about our musical and political legends and the first four episodes of what’s sure to be the weirdest show on Amazon. Here’s your guide to five extremely Bay Area screenings to seek out when festival tickets go on sale to the general public this Friday, March 24 at 10 a.m.\u003c/p>\n\u003cfigure id=\"attachment_13926767\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926767\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER.jpg\" alt=\"Young Black man with short hair against blurry background\" width=\"1920\" height=\"1205\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER-1020x640.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER-1536x964.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Young Stephen Curry in a still from Pete Nicks’ ‘Stephen Curry: Underrated.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/opening-night-stephen-curry-underrated/\">Stephen Curry: Underrated\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>April 13, 6:30 p.m. at Grand Lake Theater\u003c/em>\u003cbr>\n\u003cem>April 13, 9:30 p.m. at Grand Lake Theater\u003c/em>\u003c/p>\n\u003cp>It’s no surprise Pete Nicks’ latest documentary is this year’s opening night film. After focusing on a trio of Oakland institutions with \u003ci>The Waiting Room\u003c/i> (Highland Hospital), \u003ci>The Force\u003c/i> (the Oakland Police Department), and \u003ci>Homeroom\u003c/i> (Oakland High School), he’s turned his lens on another kind of local icon: Golden State Warrior Stephen Curry. The film mingles the 2021–22 season (when Curry led the team to his fourth ring) with footage from his early days at Davidson College, along with off-court footage of everyday life for a routinely dismissed yet consistently impressive basketball superstar. Nicks and producer Ryan Coogler will be present at both screenings, and depending on how the rest of this rocky season goes, we may hope there are no Warriors in attendance.\u003c/p>\n\u003cfigure id=\"attachment_13926768\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926768\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/JOAN-BAEZ_1.jpg\" alt=\"Black-and-white photo of woman in striped shirt playing guitar in front of mic\" width=\"1920\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/JOAN-BAEZ_1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/JOAN-BAEZ_1-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/JOAN-BAEZ_1-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/JOAN-BAEZ_1-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/JOAN-BAEZ_1-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/JOAN-BAEZ_1-1536x960.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Miri Navasky, Maeve O’Boyle and Karen O’Connor’s ‘Joan Baez I Am A Noise.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/joan-baez-i-am-a-noise/\">Joan Baez I Am a Noise\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>April 18, 5 p.m. at Castro Theatre\u003c/i>\u003c/p>\n\u003cp>Joan Baez is an internationally acclaimed singer, songwriter and activist, but the Palo Alto High grad has always meant something special to the Bay. This documentary from directors Miri Navasky, Karen O’Connor and Maeve O’Boyle combines music, oral history and archival footage for a non-linear approach to the folk singer’s multi-faceted career. Interspersed with scenes from Baez’s 2018-2019 Fare Thee Well Tour is a narrative that traces her rise to stardom in her early 20s, collaborations with Bob Dylan and other formative relationships, and her prolific activism, beginning with anti-Vietnam War protests and carrying through to the fight for LGBTQ rights and the Occupy movement. Here, too, are more intimate, complex stories about her nuclear family, of which Baez is the last living member. The singer and longtime Woodside resident is expected to be in attendance alongside the film’s directors.\u003c/p>\n\u003cfigure id=\"attachment_13926766\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926766\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RALLY_1_1920.jpg\" alt=\"Black-and-white photo of two men and one Asian woman in front of blackboard covered in names\" width=\"1920\" height=\"1413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RALLY_1_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RALLY_1_1920-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RALLY_1_1920-1020x751.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RALLY_1_1920-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RALLY_1_1920-768x565.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RALLY_1_1920-1536x1130.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Rooth Tang’s ‘Rally.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/rally/\">Rally\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>April 21, 5:30 p.m. at CGV 3, San Francisco\u003cbr>\nApril 23, 12 p.m. at BAMPFA\u003c/em>\u003c/p>\n\u003cp>It’s high time for a Rose Pak documentary, especially given the \u003ca href=\"https://www.kqed.org/news/11094253/rose-pak-chinatown-dynamo-opened-doors-for-asians\">divisive reputation of the late powerbroker\u003c/a> — she preferred the title of “community organizer” — in San Francisco’s Chinatown. Director Rooth Tang covers Pak’s early days as an immigrant, \u003ci>San Francisco Chronicle\u003c/i> journalist and activist before she assumed the role of “atypical kingmaker” and fierce advocate for the local Chinese communities. With that role came questions of her ties to the Chinese government, as well as accusations of corruption and bullying. Her impact on the local landscape (look no further than the finally open Central Subway, one of her causes) is part of a complex and necessary story about the inner workings of San Francisco politics.\u003c/p>\n\u003cfigure id=\"attachment_13926764\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926764\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/1000_-Me-Growing-Up-Mixed_07_1920.jpg\" alt=\"Grid of nine stills of families on couches and at tables\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/1000_-Me-Growing-Up-Mixed_07_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/1000_-Me-Growing-Up-Mixed_07_1920-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/1000_-Me-Growing-Up-Mixed_07_1920-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/1000_-Me-Growing-Up-Mixed_07_1920-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/1000_-Me-Growing-Up-Mixed_07_1920-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/1000_-Me-Growing-Up-Mixed_07_1920-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Stills from W. Kamau Bell’s ‘1000% Me: Growing Up Mixed.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/1000-me-growing-up-mixed-creating-things-southern-afternoon/\">1000% Me: Growing Up Mixed\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>April 22, 12 p.m. at BAMPFA\u003c/em>\u003c/p>\n\u003cp>W. Kamau Bell brings a very personal story to the screen in this hourlong documentary. Starting with his own kids, Bell talks to Bay Area children growing up in mixed-race families, giving young people a chance to lead their own conversations about race. Billed as “tender,” “charming” and “timely,” \u003ci>1000% Me\u003c/i> does a rare thing at a moment when the entire country seems focused on the well-being of children: it lets them speak for themselves about the highs and lows of dealing with the outside forces that seek to define them. As a bonus, the film will be paired with two family-minded shorts: \u003ci>Creating Things\u003c/i>, about filmmaker Bryan Simpson and his brother revisiting their father’s art; and \u003ci>Southern Afternoon\u003c/i>, Tian Lan’s short drama about a Uyghur father who suspects his teenager has received a love letter, but first needs to decipher the Chinese characters.\u003c/p>\n\u003cfigure id=\"attachment_13926765\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926765\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/IMAVIRGO_3_1920.jpg\" alt=\"A giant Black man with locs sits on front steps in purple outfit\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMAVIRGO_3_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMAVIRGO_3_1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMAVIRGO_3_1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMAVIRGO_3_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMAVIRGO_3_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMAVIRGO_3_1920-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Boots Riley’s television show ‘I’m a Virgo.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/im-a-virgo/\">I’m a Virgo\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>April 23, 6 p.m. at CGV 3, San Francisco\u003c/em>\u003cbr>\n\u003cem>April 23, 7:30 p.m. at CGV 2, San Francisco\u003c/em>\u003c/p>\n\u003cp>When Boots Riley’s \u003cem>Sorry to Bother You\u003c/em> had its California premiere as the SFFILM Festival’s 2018 centerpiece, one theater wasn’t big enough to contain the hometown enthusiasm: the film screened to boisterous, sold-out crowds on both sides of the Bay, at the Castro and Grand Lake theaters, on the same night.\u003c/p>\n\u003cp>\u003ci>I’m a Virgo\u003c/i>, the Coup frontman-and-activist-turned-filmmaker’s first foray into streaming television, promises to be even bigger. It centers around a 13-foot-tall man named Cootie (Emmy winner Jharrel Jerome, \u003ci>When They See Us\u003c/i>) who’s coming of age in Oakland, making friends and enemies, and learning about romance, revolution and sideshow stunts along the way. The series, which was shot in Oakland and New Orleans (dressed up as Oakland), garnered serious buzz at South By Southwest, but an SFFILM closing-night premiere is special in a different way — Riley has a long relationship with the organization, and was an SFFILM Filmmaker-In-Residence when he began developing his debut. He’ll be in attendance for a Q&A.\u003c/p>\n\u003cfigure id=\"attachment_13926791\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926791\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/EARTH-MAMA_1_1920.jpg\" alt=\"Young Black woman lays on hood of car leaning against windshield\" width=\"1920\" height=\"1273\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/EARTH-MAMA_1_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/EARTH-MAMA_1_1920-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/EARTH-MAMA_1_1920-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/EARTH-MAMA_1_1920-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/EARTH-MAMA_1_1920-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/EARTH-MAMA_1_1920-1536x1018.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Savanah Leaf’s ‘Earth Mama,’ starring Tia Nomore. \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Briefly Noted\u003c/h2>\n\u003cp>\u003ci>\u003cb>\u003ca href=\"https://sffilm.org/event/earth-mama/\">Earth Mama\u003c/a>\u003c/b>\u003c/i>\u003cbr>\n\u003ci>April 14, 8 p.m. at BAMPFA\u003cbr>\nApril 15, 6 p.m. at CGV 3\u003c/i>\u003cbr>\nDirected by newcomer (and former Olympian) Savanah Leaf, this feature stars local musician \u003ca href=\"https://www.kqed.org/arts/13925905/tia-nomore-earth-mama-a24-savanah-leaf\">Tia Nomore\u003c/a> as a single mother in Oakland navigating the foster care system as she prepares for the birth of another child.\u003c/p>\n\u003cp>\u003cb>Mel Novikoff Award: Firelight Media and \u003ci>The Black Panthers: Vanguard of the Revolution\u003c/i>\u003c/b>\u003cbr>\n\u003ci>April 15, 3:15 p.m. at CGV 2\u003c/i>\u003cbr>\nThis screening of Stanley Nelson’s incredible 2015 doc helps celebrate Firelight Media, founded by Nelson and Marcia Smith in 1998, which backs filmmakers of color through labs, fellowships and film funds.\u003c/p>\n\u003cp>\u003ci>\u003cb>\u003ca href=\"https://sffilm.org/event/fremont/\">Fremont\u003c/a>\u003c/b>\u003c/i>\u003cbr>\n\u003ci>April 22, 3 p.m. at CGV 2\u003cbr>\nApril 23, 3 p.m. at BAMPFA\u003c/i>\u003cbr>\nFilmed in lush black and white, Babak Jalali’s narrative film centers on a former U.S. military translator who now lives in the title city’s Afghan community, writing fortune cookies and adjusting to life in the American suburbs.\u003c/p>\n\u003cp>\u003ci>\u003cb>\u003ca href=\"https://sffilm.org/event/home-is-a-hotel/\">Home is a Hotel\u003c/a>\u003c/b>\u003c/i>\u003cbr>\n\u003ci>April 22, 12:45 p.m. at CGV 3\u003c/i>\u003cbr>\nThis documentary from Kevin Duncan Wong, Tod Sills and Kar Yin Tham visits the diverse residents of San Francisco’s cramped, noisy and often vermin-filled SROs. Not unhoused but not well-housed, the film’s participants show just how complicated the city’s housing situation really is.\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 fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 66th \u003ca href=\"https://sffilm.org/\">San Francisco International Film Festival\u003c/a> is back for a fully in-person celebration of cinema, with 96 public programs spread across theaters in San Francisco, Oakland and Berkeley, April 13–23. While there’s plenty to be excited about — numerous world premieres, a free screening of \u003ci>\u003ca href=\"https://sffilm.org/event/community-screening-are-you-there-god-its-me-margaret/\">Are You There God, It’s Me Margaret\u003c/a>\u003c/i> (RSVPs required!), playwright Celine Song’s lovely looking \u003ci>\u003ca href=\"https://sffilm.org/event/centerpiece-past-lives/\">Past Lives\u003c/a>\u003c/i> — we’re most proud of the strong Bay Area showing.\u003c/p>\n\u003cp>We’ve got feature films from local filmmakers, documentaries about our musical and political legends and the first four episodes of what’s sure to be the weirdest show on Amazon. Here’s your guide to five extremely Bay Area screenings to seek out when festival tickets go on sale to the general public this Friday, March 24 at 10 a.m.\u003c/p>\n\u003cfigure id=\"attachment_13926767\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926767\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER.jpg\" alt=\"Young Black man with short hair against blurry background\" width=\"1920\" height=\"1205\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER-1020x640.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/STEPHEN-CURRY_2_COVER-1536x964.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Young Stephen Curry in a still from Pete Nicks’ ‘Stephen Curry: Underrated.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/opening-night-stephen-curry-underrated/\">Stephen Curry: Underrated\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>April 13, 6:30 p.m. at Grand Lake Theater\u003c/em>\u003cbr>\n\u003cem>April 13, 9:30 p.m. at Grand Lake Theater\u003c/em>\u003c/p>\n\u003cp>It’s no surprise Pete Nicks’ latest documentary is this year’s opening night film. After focusing on a trio of Oakland institutions with \u003ci>The Waiting Room\u003c/i> (Highland Hospital), \u003ci>The Force\u003c/i> (the Oakland Police Department), and \u003ci>Homeroom\u003c/i> (Oakland High School), he’s turned his lens on another kind of local icon: Golden State Warrior Stephen Curry. The film mingles the 2021–22 season (when Curry led the team to his fourth ring) with footage from his early days at Davidson College, along with off-court footage of everyday life for a routinely dismissed yet consistently impressive basketball superstar. Nicks and producer Ryan Coogler will be present at both screenings, and depending on how the rest of this rocky season goes, we may hope there are no Warriors in attendance.\u003c/p>\n\u003cfigure id=\"attachment_13926768\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926768\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/JOAN-BAEZ_1.jpg\" alt=\"Black-and-white photo of woman in striped shirt playing guitar in front of mic\" width=\"1920\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/JOAN-BAEZ_1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/JOAN-BAEZ_1-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/JOAN-BAEZ_1-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/JOAN-BAEZ_1-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/JOAN-BAEZ_1-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/JOAN-BAEZ_1-1536x960.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Miri Navasky, Maeve O’Boyle and Karen O’Connor’s ‘Joan Baez I Am A Noise.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/joan-baez-i-am-a-noise/\">Joan Baez I Am a Noise\u003c/a>’\u003c/h2>\n\u003cp>\u003ci>April 18, 5 p.m. at Castro Theatre\u003c/i>\u003c/p>\n\u003cp>Joan Baez is an internationally acclaimed singer, songwriter and activist, but the Palo Alto High grad has always meant something special to the Bay. This documentary from directors Miri Navasky, Karen O’Connor and Maeve O’Boyle combines music, oral history and archival footage for a non-linear approach to the folk singer’s multi-faceted career. Interspersed with scenes from Baez’s 2018-2019 Fare Thee Well Tour is a narrative that traces her rise to stardom in her early 20s, collaborations with Bob Dylan and other formative relationships, and her prolific activism, beginning with anti-Vietnam War protests and carrying through to the fight for LGBTQ rights and the Occupy movement. Here, too, are more intimate, complex stories about her nuclear family, of which Baez is the last living member. The singer and longtime Woodside resident is expected to be in attendance alongside the film’s directors.\u003c/p>\n\u003cfigure id=\"attachment_13926766\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926766\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RALLY_1_1920.jpg\" alt=\"Black-and-white photo of two men and one Asian woman in front of blackboard covered in names\" width=\"1920\" height=\"1413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RALLY_1_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RALLY_1_1920-800x589.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RALLY_1_1920-1020x751.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RALLY_1_1920-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RALLY_1_1920-768x565.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RALLY_1_1920-1536x1130.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Rooth Tang’s ‘Rally.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/rally/\">Rally\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>April 21, 5:30 p.m. at CGV 3, San Francisco\u003cbr>\nApril 23, 12 p.m. at BAMPFA\u003c/em>\u003c/p>\n\u003cp>It’s high time for a Rose Pak documentary, especially given the \u003ca href=\"https://www.kqed.org/news/11094253/rose-pak-chinatown-dynamo-opened-doors-for-asians\">divisive reputation of the late powerbroker\u003c/a> — she preferred the title of “community organizer” — in San Francisco’s Chinatown. Director Rooth Tang covers Pak’s early days as an immigrant, \u003ci>San Francisco Chronicle\u003c/i> journalist and activist before she assumed the role of “atypical kingmaker” and fierce advocate for the local Chinese communities. With that role came questions of her ties to the Chinese government, as well as accusations of corruption and bullying. Her impact on the local landscape (look no further than the finally open Central Subway, one of her causes) is part of a complex and necessary story about the inner workings of San Francisco politics.\u003c/p>\n\u003cfigure id=\"attachment_13926764\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926764\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/1000_-Me-Growing-Up-Mixed_07_1920.jpg\" alt=\"Grid of nine stills of families on couches and at tables\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/1000_-Me-Growing-Up-Mixed_07_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/1000_-Me-Growing-Up-Mixed_07_1920-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/1000_-Me-Growing-Up-Mixed_07_1920-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/1000_-Me-Growing-Up-Mixed_07_1920-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/1000_-Me-Growing-Up-Mixed_07_1920-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/1000_-Me-Growing-Up-Mixed_07_1920-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Stills from W. Kamau Bell’s ‘1000% Me: Growing Up Mixed.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/1000-me-growing-up-mixed-creating-things-southern-afternoon/\">1000% Me: Growing Up Mixed\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>April 22, 12 p.m. at BAMPFA\u003c/em>\u003c/p>\n\u003cp>W. Kamau Bell brings a very personal story to the screen in this hourlong documentary. Starting with his own kids, Bell talks to Bay Area children growing up in mixed-race families, giving young people a chance to lead their own conversations about race. Billed as “tender,” “charming” and “timely,” \u003ci>1000% Me\u003c/i> does a rare thing at a moment when the entire country seems focused on the well-being of children: it lets them speak for themselves about the highs and lows of dealing with the outside forces that seek to define them. As a bonus, the film will be paired with two family-minded shorts: \u003ci>Creating Things\u003c/i>, about filmmaker Bryan Simpson and his brother revisiting their father’s art; and \u003ci>Southern Afternoon\u003c/i>, Tian Lan’s short drama about a Uyghur father who suspects his teenager has received a love letter, but first needs to decipher the Chinese characters.\u003c/p>\n\u003cfigure id=\"attachment_13926765\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926765\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/IMAVIRGO_3_1920.jpg\" alt=\"A giant Black man with locs sits on front steps in purple outfit\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMAVIRGO_3_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMAVIRGO_3_1920-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMAVIRGO_3_1920-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMAVIRGO_3_1920-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMAVIRGO_3_1920-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMAVIRGO_3_1920-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Boots Riley’s television show ‘I’m a Virgo.’ \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘\u003ca href=\"https://sffilm.org/event/im-a-virgo/\">I’m a Virgo\u003c/a>’\u003c/h2>\n\u003cp>\u003cem>April 23, 6 p.m. at CGV 3, San Francisco\u003c/em>\u003cbr>\n\u003cem>April 23, 7:30 p.m. at CGV 2, San Francisco\u003c/em>\u003c/p>\n\u003cp>When Boots Riley’s \u003cem>Sorry to Bother You\u003c/em> had its California premiere as the SFFILM Festival’s 2018 centerpiece, one theater wasn’t big enough to contain the hometown enthusiasm: the film screened to boisterous, sold-out crowds on both sides of the Bay, at the Castro and Grand Lake theaters, on the same night.\u003c/p>\n\u003cp>\u003ci>I’m a Virgo\u003c/i>, the Coup frontman-and-activist-turned-filmmaker’s first foray into streaming television, promises to be even bigger. It centers around a 13-foot-tall man named Cootie (Emmy winner Jharrel Jerome, \u003ci>When They See Us\u003c/i>) who’s coming of age in Oakland, making friends and enemies, and learning about romance, revolution and sideshow stunts along the way. The series, which was shot in Oakland and New Orleans (dressed up as Oakland), garnered serious buzz at South By Southwest, but an SFFILM closing-night premiere is special in a different way — Riley has a long relationship with the organization, and was an SFFILM Filmmaker-In-Residence when he began developing his debut. He’ll be in attendance for a Q&A.\u003c/p>\n\u003cfigure id=\"attachment_13926791\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926791\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/EARTH-MAMA_1_1920.jpg\" alt=\"Young Black woman lays on hood of car leaning against windshield\" width=\"1920\" height=\"1273\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/EARTH-MAMA_1_1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/EARTH-MAMA_1_1920-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/EARTH-MAMA_1_1920-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/EARTH-MAMA_1_1920-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/EARTH-MAMA_1_1920-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/EARTH-MAMA_1_1920-1536x1018.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from Savanah Leaf’s ‘Earth Mama,’ starring Tia Nomore. \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Briefly Noted\u003c/h2>\n\u003cp>\u003ci>\u003cb>\u003ca href=\"https://sffilm.org/event/earth-mama/\">Earth Mama\u003c/a>\u003c/b>\u003c/i>\u003cbr>\n\u003ci>April 14, 8 p.m. at BAMPFA\u003cbr>\nApril 15, 6 p.m. at CGV 3\u003c/i>\u003cbr>\nDirected by newcomer (and former Olympian) Savanah Leaf, this feature stars local musician \u003ca href=\"https://www.kqed.org/arts/13925905/tia-nomore-earth-mama-a24-savanah-leaf\">Tia Nomore\u003c/a> as a single mother in Oakland navigating the foster care system as she prepares for the birth of another child.\u003c/p>\n\u003cp>\u003cb>Mel Novikoff Award: Firelight Media and \u003ci>The Black Panthers: Vanguard of the Revolution\u003c/i>\u003c/b>\u003cbr>\n\u003ci>April 15, 3:15 p.m. at CGV 2\u003c/i>\u003cbr>\nThis screening of Stanley Nelson’s incredible 2015 doc helps celebrate Firelight Media, founded by Nelson and Marcia Smith in 1998, which backs filmmakers of color through labs, fellowships and film funds.\u003c/p>\n\u003cp>\u003ci>\u003cb>\u003ca href=\"https://sffilm.org/event/fremont/\">Fremont\u003c/a>\u003c/b>\u003c/i>\u003cbr>\n\u003ci>April 22, 3 p.m. at CGV 2\u003cbr>\nApril 23, 3 p.m. at BAMPFA\u003c/i>\u003cbr>\nFilmed in lush black and white, Babak Jalali’s narrative film centers on a former U.S. military translator who now lives in the title city’s Afghan community, writing fortune cookies and adjusting to life in the American suburbs.\u003c/p>\n\u003cp>\u003ci>\u003cb>\u003ca href=\"https://sffilm.org/event/home-is-a-hotel/\">Home is a Hotel\u003c/a>\u003c/b>\u003c/i>\u003cbr>\n\u003ci>April 22, 12:45 p.m. at CGV 3\u003c/i>\u003cbr>\nThis documentary from Kevin Duncan Wong, Tod Sills and Kar Yin Tham visits the diverse residents of San Francisco’s cramped, noisy and often vermin-filled SROs. Not unhoused but not well-housed, the film’s participants show just how complicated the city’s housing situation really is.\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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"title": "‘We Need to Talk About Cosby’ is a Tough Conversation That’s Long Overdue",
"headTitle": "‘We Need to Talk About Cosby’ is a Tough Conversation That’s Long Overdue | KQED",
"content": "\u003cp>In the interest of writing this review, I watched all four episodes of \u003cem>We Need to Talk About Cosby\u003c/em> in very quick succession—and it is not a method I would recommend. Between experiencing full-body cringes and the repeated desire to look away, I also found myself laughing at clips from old episodes of \u003cem>The Cosby Show\u003c/em>—something I assumed I’d never do again. One moment, I’d be in awe at the way Cosby almost singlehandedly transformed Black representation on American television. And the next, I’d feel rage bubbling up for the multitude of women who were privately failed because of all that public admiration.\u003c/p>\n\u003cp>[aside postid='arts_13830564']It is W. Kamau Bell’s ability to stare unflinchingly at Cosby’s legacy here—the monstrous and the positive in equal measure—that makes this series such an emotional rollercoaster. But it’s also exactly what makes \u003ci>We Need to Talk About Cosby\u003c/i> so compelling. Bell’s own struggle with the material is palpable when he centers himself in the documentary. “I am a child of Bill Cosby,” Bell notes in the first episode of the Showtime series. “I am Black man, I am a stand-up comic. I was born in the ’70s. I was raised by \u003cem>Fat Albert\u003c/em>, \u003cem>Picture Pages\u003c/em> and \u003cem>The Cosby Show\u003c/em>. Bill Cosby himself showed me you could be smart and funny in equal measure.”\u003c/p>\n\u003cp>Though the series undoubtedly benefits from it, Bell’s personal relationship with Cosby was not originally supposed to be part of this documentary. In promotional interviews, Bell has admitted that he only put his personal narrative into the story when a plethora of “comedians, famous people, commentators [and] people who had worked with Bill Cosby” refused to talk to him on camera, in the interests of avoiding a minefield. “I’m still experiencing fear for when this comes out in a wide way, how people respond to it,” \u003ca href=\"https://www.vanityfair.com/hollywood/2022/01/w-kamau-bell-bill-cosby\" target=\"_blank\" rel=\"noopener noreferrer\">Bell told\u003cem> Vanity Fair\u003c/em> last week\u003c/a>. “Some people I know are going to hate it and never even watch it.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qVr0xrvGK1Q\u003c/p>\n\u003cp>The brave souls who did volunteer to participate in \u003cem>We Need to Talk About Bill Cosby\u003c/em> are primarily a mix of academics, journalists, cultural critics, comedians and actors. The series juxtaposes Cosby’s career arc with the politics of each era, examining how those two things intersected, and how Cosby used his talent to defy the status quo at almost every turn. In the early 1960s, when Black people were either absent from TV screens or portrayed as childlike simpletons, Cosby was playing a 007-style hero in \u003cem>I Spy\u003c/em>. When 1980s mainstream media presented Black fathers as absent and irresponsible, Cosby became “America’s Dad.” That he succeeded this way continues to feel miraculous.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Interspersed throughout the many examples of Cosby’s success and positive influence, his rape accusers are given ample space to tell their stories at their own pace. Each is strikingly similar to the next. Each is horrific in its own singular way. (Former \u003cem>Playboy\u003c/em> model Victoria Valentino’s story plays out like a roiling nightmare, agonizing to even hear secondhand.) It is striking that many of these women speak of feeling embarrassed and ashamed of “blacking out” in Cosby’s presence rather than believing he would drug them. (Lise Lotte-Lublin explains that she only fully realized what had happened to her after Janice Dickinson publicly spoke out in 2014 about her own experience with Cosby.)\u003c/p>\n\u003cp>[aside postid='arts_13875370']One of the things that \u003cem>We Need to Talk About Cosby\u003c/em> does incredibly well is to explain, in great detail, how Cosby used his benevolent deeds to mask his malevolent ones. “He used the power, and the money that came with it, to directly make the lives of Black people better,” Bell narrates at one point, noting that Cosby donated millions of dollars to HBCUs.\u003c/p>\n\u003cp>This is how Cosby earned enough good faith to evade any real public scrutiny. It’s also, chillingly, how he got young women to trust him enough to agree to mentorships and private coaching sessions on the spot.\u003c/p>\n\u003cp>And yet, the breadcrumbs Cosby scattered in popular culture about his private compulsions are also gathered together in the series. It’s a stunning presentation of what audiences are willing to overlook when it comes to our most beloved entertainers. There was Cosby’s “Spanish Fly” comedy routine in 1969. There were 15 separate mentions of the drug in his \u003cem>Childhood\u003c/em> book, released in 1991. There was the episode of \u003cem>The Cosby Show\u003c/em> in which he talks about his homemade barbecue sauce as a weird kind of aphrodisiac. There was his willingness to talk about putting drugs in women’s drinks in TV interviews.\u003c/p>\n\u003cp>“He told you what he did. He told you about the pills,” says Temple University professor Marc Lamont Hill. “He told you that they went in drinks. He made that very clear without anybody else’s help. Without any witness testimony … If I just go by what Bill Cosby tells me, I know he’s a creep.”\u003c/p>\n\u003cfigure id=\"attachment_13908738\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13908738\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/Lily-Bernard-800x515.png\" alt=\"\" width=\"800\" height=\"515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Lily-Bernard-800x515.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Lily-Bernard-1020x657.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Lily-Bernard-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Lily-Bernard-768x495.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Lily-Bernard-1536x990.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Lily-Bernard.png 1844w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lily Bernard, an actor who worked on ‘The Cosby Show’ and a rape survivor, is one of the most compelling speakers in ‘We Need to Talk About Cosby.’ \u003ccite>(Showtime)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Former \u003cem>Cosby Show\u003c/em> actresses Lily Bernard and Eden Tirl raise questions about who knew what and when. They argue that Cosby’s focus on young, beautiful women was an open secret on set, and that his manipulative methods of gaining access to them were well known. Cosby’s wife Camille, they explain, was never on set. (“She didn’t exist,” Bernard shrugs.) All the while, Cosby presented himself as a family man in his public life.\u003c/p>\n\u003cp>\u003cem>We Need to Talk About Cosby\u003c/em> is helpful in understanding how Cosby’s positive image was well constructed and deeply embedded into culture. Several interviewees here—including Joseph C. Phillips, who played Martin on \u003cem>The Cosby Show\u003c/em>—readily admit that they didn’t believe the women speaking out against Cosby until it happened to someone they knew. For Phillips, that was an old friend who’d also worked on \u003cem>The Cosby Show\u003c/em>. “We sit in my car,” he says. “It was an hour later, she spilled it all out, and she says to me, ‘Do you believe me?’ And I said ‘Yes, I believe you.’ She wasn’t lying. So he at least did it to her. And if he did it to her, yes, I believe there were others.”\u003c/p>\n\u003cp>[aside postid='pop_14359']Towards the end of the series, Bell poses a tough question. “What happens when the artist you idolized isn’t the human being you thought they were? And what if that person’s artistic achievement, living example and good works were so great that they changed the world? What then?”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>If there is an answer in \u003cem>We Need to Talk About Cosby\u003c/em>, it’s that there are no simple answers. All we can do is talk it out. And \u003cem>We Need to Talk About Cosby\u003c/em> is a hell of a way to start that conversation. Its final moments will leave you chilled to the bone.\u003c/p>\n\n",
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"excerpt": "W. Kamau Bell’s dissection of Bill Cosby’s life is a challenge to everyone who ever loved him.",
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"description": "W. Kamau Bell’s dissection of Bill Cosby’s life is a challenge to everyone who ever loved him.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the interest of writing this review, I watched all four episodes of \u003cem>We Need to Talk About Cosby\u003c/em> in very quick succession—and it is not a method I would recommend. Between experiencing full-body cringes and the repeated desire to look away, I also found myself laughing at clips from old episodes of \u003cem>The Cosby Show\u003c/em>—something I assumed I’d never do again. One moment, I’d be in awe at the way Cosby almost singlehandedly transformed Black representation on American television. And the next, I’d feel rage bubbling up for the multitude of women who were privately failed because of all that public admiration.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It is W. Kamau Bell’s ability to stare unflinchingly at Cosby’s legacy here—the monstrous and the positive in equal measure—that makes this series such an emotional rollercoaster. But it’s also exactly what makes \u003ci>We Need to Talk About Cosby\u003c/i> so compelling. Bell’s own struggle with the material is palpable when he centers himself in the documentary. “I am a child of Bill Cosby,” Bell notes in the first episode of the Showtime series. “I am Black man, I am a stand-up comic. I was born in the ’70s. I was raised by \u003cem>Fat Albert\u003c/em>, \u003cem>Picture Pages\u003c/em> and \u003cem>The Cosby Show\u003c/em>. Bill Cosby himself showed me you could be smart and funny in equal measure.”\u003c/p>\n\u003cp>Though the series undoubtedly benefits from it, Bell’s personal relationship with Cosby was not originally supposed to be part of this documentary. In promotional interviews, Bell has admitted that he only put his personal narrative into the story when a plethora of “comedians, famous people, commentators [and] people who had worked with Bill Cosby” refused to talk to him on camera, in the interests of avoiding a minefield. “I’m still experiencing fear for when this comes out in a wide way, how people respond to it,” \u003ca href=\"https://www.vanityfair.com/hollywood/2022/01/w-kamau-bell-bill-cosby\" target=\"_blank\" rel=\"noopener noreferrer\">Bell told\u003cem> Vanity Fair\u003c/em> last week\u003c/a>. “Some people I know are going to hate it and never even watch it.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/qVr0xrvGK1Q'\n title='//www.youtube.com/embed/qVr0xrvGK1Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The brave souls who did volunteer to participate in \u003cem>We Need to Talk About Bill Cosby\u003c/em> are primarily a mix of academics, journalists, cultural critics, comedians and actors. The series juxtaposes Cosby’s career arc with the politics of each era, examining how those two things intersected, and how Cosby used his talent to defy the status quo at almost every turn. In the early 1960s, when Black people were either absent from TV screens or portrayed as childlike simpletons, Cosby was playing a 007-style hero in \u003cem>I Spy\u003c/em>. When 1980s mainstream media presented Black fathers as absent and irresponsible, Cosby became “America’s Dad.” That he succeeded this way continues to feel miraculous.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Interspersed throughout the many examples of Cosby’s success and positive influence, his rape accusers are given ample space to tell their stories at their own pace. Each is strikingly similar to the next. Each is horrific in its own singular way. (Former \u003cem>Playboy\u003c/em> model Victoria Valentino’s story plays out like a roiling nightmare, agonizing to even hear secondhand.) It is striking that many of these women speak of feeling embarrassed and ashamed of “blacking out” in Cosby’s presence rather than believing he would drug them. (Lise Lotte-Lublin explains that she only fully realized what had happened to her after Janice Dickinson publicly spoke out in 2014 about her own experience with Cosby.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>One of the things that \u003cem>We Need to Talk About Cosby\u003c/em> does incredibly well is to explain, in great detail, how Cosby used his benevolent deeds to mask his malevolent ones. “He used the power, and the money that came with it, to directly make the lives of Black people better,” Bell narrates at one point, noting that Cosby donated millions of dollars to HBCUs.\u003c/p>\n\u003cp>This is how Cosby earned enough good faith to evade any real public scrutiny. It’s also, chillingly, how he got young women to trust him enough to agree to mentorships and private coaching sessions on the spot.\u003c/p>\n\u003cp>And yet, the breadcrumbs Cosby scattered in popular culture about his private compulsions are also gathered together in the series. It’s a stunning presentation of what audiences are willing to overlook when it comes to our most beloved entertainers. There was Cosby’s “Spanish Fly” comedy routine in 1969. There were 15 separate mentions of the drug in his \u003cem>Childhood\u003c/em> book, released in 1991. There was the episode of \u003cem>The Cosby Show\u003c/em> in which he talks about his homemade barbecue sauce as a weird kind of aphrodisiac. There was his willingness to talk about putting drugs in women’s drinks in TV interviews.\u003c/p>\n\u003cp>“He told you what he did. He told you about the pills,” says Temple University professor Marc Lamont Hill. “He told you that they went in drinks. He made that very clear without anybody else’s help. Without any witness testimony … If I just go by what Bill Cosby tells me, I know he’s a creep.”\u003c/p>\n\u003cfigure id=\"attachment_13908738\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13908738\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/Lily-Bernard-800x515.png\" alt=\"\" width=\"800\" height=\"515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Lily-Bernard-800x515.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Lily-Bernard-1020x657.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Lily-Bernard-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Lily-Bernard-768x495.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Lily-Bernard-1536x990.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Lily-Bernard.png 1844w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lily Bernard, an actor who worked on ‘The Cosby Show’ and a rape survivor, is one of the most compelling speakers in ‘We Need to Talk About Cosby.’ \u003ccite>(Showtime)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Former \u003cem>Cosby Show\u003c/em> actresses Lily Bernard and Eden Tirl raise questions about who knew what and when. They argue that Cosby’s focus on young, beautiful women was an open secret on set, and that his manipulative methods of gaining access to them were well known. Cosby’s wife Camille, they explain, was never on set. (“She didn’t exist,” Bernard shrugs.) All the while, Cosby presented himself as a family man in his public life.\u003c/p>\n\u003cp>\u003cem>We Need to Talk About Cosby\u003c/em> is helpful in understanding how Cosby’s positive image was well constructed and deeply embedded into culture. Several interviewees here—including Joseph C. Phillips, who played Martin on \u003cem>The Cosby Show\u003c/em>—readily admit that they didn’t believe the women speaking out against Cosby until it happened to someone they knew. For Phillips, that was an old friend who’d also worked on \u003cem>The Cosby Show\u003c/em>. “We sit in my car,” he says. “It was an hour later, she spilled it all out, and she says to me, ‘Do you believe me?’ And I said ‘Yes, I believe you.’ She wasn’t lying. So he at least did it to her. And if he did it to her, yes, I believe there were others.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Towards the end of the series, Bell poses a tough question. “What happens when the artist you idolized isn’t the human being you thought they were? And what if that person’s artistic achievement, living example and good works were so great that they changed the world? What then?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If there is an answer in \u003cem>We Need to Talk About Cosby\u003c/em>, it’s that there are no simple answers. All we can do is talk it out. And \u003cem>We Need to Talk About Cosby\u003c/em> is a hell of a way to start that conversation. Its final moments will leave you chilled to the bone.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "What’s On Your Ballot?: W. Kamau Bell, Comedian and TV Host",
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"content": "\u003cp>\u003ci>In 2020, the United States faces an election like no other. Citizens will vote in the midst of a global pandemic, severe climate change, an uprising for racial justice and an administration that has eroded the norms of democracy. In ‘\u003ca href=\"https://www.kqed.org/arts/tag/whats-on-your-ballot\" target=\"_blank\" rel=\"noopener noreferrer\">What’s on Your Ballot?\u003c/a>,’ KQED checks in with ten different artists, activists and cultural figures about the issues on their minds and their hopes for the country.\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he day before I speak to comedian W. Kamau Bell, I wake up to a news alert: “President Trump refuses to verbally commit to peaceful transfer of power.” As we enter the seventh month of the COVID-19 pandemic in the U.S., terrifying but frequent headlines like these are a daily source of fear and trepidation, and a harsh reminder of the state of our nation.\u003c/p>\n\u003cp>At a moment when unity seems to be painfully absent in the country, Bell’s work on his Emmy Award-winning show \u003cem>\u003ca href=\"https://www.cnn.com/shows/united-shades-of-america\" target=\"_blank\" rel=\"noopener noreferrer\">United Shades of America\u003c/a>\u003c/em> seems more relevant than ever. When I catch him in a rare free moment between work calls and shooting a new season, I find a familiarity in the way he speaks: a classic Bay Area groundedness that feels like home, but also a layer of brutal realism, informed by his experiences and tough conversations with Americans of all backgrounds, and buffered by his humor. We discuss everything from Ghanaian citizenship and the prospect of a talent exodus from America, to the importance of down-ballot voting to create local change, to his least favorite question: “Are you hopeful?”\u003c/p>\n\u003cp>After we hang up the phone, I realize I can’t quite answer that question myself. But at a time when the future feels as uncertain and chaotic as it does hopeless, I do feel a greater sense of clarity—and for that I have Bell to thank.\u003cem>—Samuel Getachew\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13887384\" class=\"wp-caption alignright\" style=\"max-width: 596px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887384\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/Kamau.Inline.PeteLee.jpg\" alt=\"W. Kamau Bell\" width=\"596\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Kamau.Inline.PeteLee.jpg 596w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Kamau.Inline.PeteLee-160x215.jpg 160w\" sizes=\"(max-width: 596px) 100vw, 596px\">\u003cfigcaption class=\"wp-caption-text\">W. Kamau Bell: “When I hear white people ask questions like, ‘How do we start?’ I’m like, we’ve already started. If you don’t know how to start now, then I think it’s on you.’ \u003ccite>(Pete Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>As we head into the election, what do you make of the political climate in America today?\u003c/strong>\u003c/p>\n\u003cp>I think it’s really important for us all, but especially for young people, to realize that this is not how things are supposed to go. This is not just like, “Oh, we elected a Republican and then we elected a Democrat and we elected a Republican.” That this is not the normal state of things in America and that it is extraordinary.\u003c/p>\n\u003cp>This is the part of history that they write about. And I really think the identity of this nation is at stake right now, so I don’t think there’s any way to overstate that. While voting is a big part of it, that’s not going to solve all of our issues. It’s really about, does the United States have the appetite for true structural change in nearly every institution?\u003c/p>\n\u003cp>\u003cstrong>This is the first election that I’ll be able to vote in, and I sympathize with the frustration that a lot of my peers are expressing with the failures of electoral politics. What would you say to those who feel that voting is futile?\u003c/strong>\u003c/p>\n\u003cp>I would say look at AOC. I would say look at Cori Bush, who is \u003ca href=\"https://coribush.org/\" target=\"_blank\" rel=\"noopener noreferrer\">running for office\u003c/a>. Look at Ilhan Omar. Look at Iyanna Presley, Rashida Talib. Those are women of color who maybe didn’t even think to run until a few years ago. Certainly the idea we would have those women in high-level public office, all of them at once, seemed like a fantasy.\u003c/p>\n\u003cp>We get focused on the presidential election every four years, I think to the detriment of local elections, which are how you can really drastically change your community. Even if you don’t know all the ins and outs, do some research to see if there’s a group you align with politically—like, in San Francisco, there’s the \u003ca href=\"http://www.theleaguesf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">League of Pissed Off Voters\u003c/a>—and then they have voting guides you can follow. Don’t let any one person be your source of knowledge about this stuff. Make sure you look into multiple sources.\u003c/p>\n\u003cp>Local elections are how you can have a say in the school budget, or how police funds are distributed. And you can actually be a part of that change. If you’re 18 now, and you want to run for office—or you’re a person of color, a woman of color, or Black or indigenous or trans—this is your time. So I would say don’t leave it up to the white guys because they have totally fucked it up.\u003c/p>\n\u003cp>https://twitter.com/wkamaubell/status/1294428939595603970\u003c/p>\n\u003cp>\u003cstrong>Through your show, you’ve met so many people from all walks of life and from all across the nation. What do you foresee being the response to Trump’s victory in November if he wins? And if he loses but refuses to concede?\u003c/strong>\u003c/p>\n\u003cp>Actually I think there’s going to be a pretty similar response if he wins or if he loses, or even if he loses and leaves right away—the funny thing about Trump, he may just get embarrassed and just leave even before his term is up. You never know what he’s going to really do.\u003c/p>\n\u003cp>But I think there is still going to be a large percentage of this country, who are his base, who are going to make democracy very difficult. Let’s not get caught up in the idea that if Biden/Harris wins, then \u003cem>Whoo! All right. Everything’s back to normal.\u003c/em> Which, we don’t want normal anyway. We all ought to be prepared for the fact that it’s going to get ugly, because I think if Trump loses, he’s going to make it look like the election was stolen from him. And if he wins, it will be in large part because he has disenfranchised voters and committed his own version of voter fraud.\u003c/p>\n\u003cp>But we have to prepare for the fact that if he loses and once he leaves, whenever that is, he’s not going to be a political leader in this country; he’s going to go try to make some money. And so then all those people end up leaderless, and then whoever steps into that leadership vacuum is the person I think I’m actually really afraid of.\u003c/p>\n\u003cp>[aside label=\"From KQED's California Voter Guide\" link1='https://www.kqed.org/voterguide/,KQED 2020 California Voter Guide: All the State Props, All the Bay Area Measures' hero=https://ww2.kqed.org/app/uploads/2020/10/KQED-Election-2020-Aside-CA-Voter-Guide.png]\u003c/p>\n\u003cp>\u003cstrong>As Black men in this country, both of us are obviously all too aware of racism as a concept and as an experience; it’s nothing new or surprising. And you’ve been talking about race and racism for much of your career. But this past summer, we saw a lot of Americans, particularly white Americans, coming to terms with systemic racism for the first time in their lives. How hopeful are you about the long-term impact of this most recent wave of Black Lives Matter movement?\u003c/strong>\u003c/p>\n\u003cp>I think a lot of it is tied to what we learn from the pandemic, and also people’s appetite to engage in this Black Lives Matter discussion—specifically white people’s appetite to engage in the work of Black Lives Matter—after a vaccine comes out. If a vaccine comes out.\u003c/p>\n\u003cp>Really, it’s on white people right now to dig into the work in such a way that no matter what happens, they’re already doing the work. You can start reading a book and then put it down and never pick it up again. But once you get 100 pages in, in all likelihood you’re going to finish that book. So I feel like white people have to get 100 pages into this anti-racism work. Because I think there are still white people who are still at the place of, “How do we talk about this stuff?” And I’m like, that is a pre-George Floyd question. \u003cem>[Laughs]\u003c/em>\u003c/p>\n\u003cp>The tools have been laid before you, whether it’s \u003ca href=\"https://www.nytimes.com/2019/08/20/books/review/how-to-be-an-antiracist-ibram-x-kendi.html\" target=\"_blank\" rel=\"noopener noreferrer\">on the New York Times bestseller list\u003c/a> or on every new show you watch or on podcasts. There’s the web, there’s that \u003ca href=\"https://blacklivesmatter.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Lives Matter website\u003c/a> where they literally just have all the different things you can do. So the tools are available to you. So I think that scares me now, when I hear white people ask questions like, “How do we start?” I’m like, “we’ve already started.” If you don’t know how to start now, then I think it’s on you.\u003c/p>\n\u003cp>And the other question that I get, that I’m really annoyed by, is “are you hopeful?” I don’t think it’s time to really engage in hopefulness. Especially when white people engage in the idea of hopefulness, it’s hopeful in the sense of, “Take your foot off the accelerator.” I think it’s time right now to do the work. Hope comes at the end of all the work.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QK4l23tYD_s\u003c/p>\n\u003cp>\u003cstrong>Yesterday, a grand jury in Kentucky decided not to charge any of the officers who killed Breonna Taylor (aside from one charge of wanton endangerment). It was disheartening to see so few consequences for her death—after so many months of protests, after putting her on magazine covers, plastering her name everywhere. Where do we go when all of our work seems futile, and no matter how hard we fight for someone, we never get any justice? What is the next course of action when it feels like every action fails?\u003c/strong>\u003c/p>\n\u003cp>I think you’re asking the question that every activist and organizer at upper levels is asking right now. I think a part of it is making sure that it stays in people’s minds, because a lot of people have done the work, but most of the country was not focused on Breonna Taylor. There’s still a lot of the country who maybe just heard her name for the first time yesterday. So I think that part of it is mainstreaming the story, you know, when you see \u003ca href=\"https://nba.nbcsports.com/2020/09/23/for-nba-players-breonna-taylor-grand-jury-decision-not-enough/\" target=\"_blank\" rel=\"noopener noreferrer\">NBA players talking about her\u003c/a>, that’s a part of it. Getting her name into a place where like regular folks who aren’t looking to pay attention have to pay attention.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But also, I think we know the battle is eternal in this country. We’re still trying to get Emmett Till’s name cleared, in some sense. I think Martin Luther King Jr. is very clear: “I may not get there with you to the promised land.” But I don’t think he thought the promised land was that close. I think he knew. So I think we have to really engage in multiple levels of the battle.\u003c/p>\n\u003cp>I try to focus on things that I can help out with, where I can see progress. That’s why I do things like donate to \u003ca href=\"https://www.donorschoose.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Donors Choose\u003c/a>, which helps support public schools all around the country, and get things that those classrooms and students need, whether it’s books or supplies or a trombone or STEM materials. That’s something I can see a result from, and those kids are going to be helped. So I think there’s that, and then there’s going out in the streets just because you need to go out in the streets.\u003c/p>\n\u003cp>And then there’s levels of the kind of work you do in your life, where you make sure your white friends don’t say racist shit, that they don’t shy away from discussions about racism, that they actually hear and pay attention. And then there’s the piece of voting. It’s the same thing as like, doing one push up ain’t gonna do a lot for you. And if you only do push-ups, the rest of your body is going to suffer. You have to do a lot of different things at a lot of different levels to see results.\u003c/p>\n\u003cfigure id=\"attachment_13887387\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887387\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/Kamau.INline2.PeteLee.jpg\" alt=\"W. Kamau Bell\" width=\"600\" height=\"784\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Kamau.INline2.PeteLee.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Kamau.INline2.PeteLee-160x209.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">W. Kamau Bell: “Let’s not get caught up in the idea that if Biden/Harris wins, then ‘Whoo! All right. Everything’s back to normal.’ We don’t want normal anyway. We all ought to be prepared for the fact that it’s going to get ugly.” \u003ccite>(Pete Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>After the election, no matter how it goes, what are your hopes and goals for the country and for the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>I think that the Bay Area, and really California as a whole, should do everything it can to mark itself as the most progressive state in this country. And that’s difficult because as we found out through COVID, there’s a lot of red in this state.\u003c/p>\n\u003cp>So I think specifically for the Bay Area, we have to legislate and we have to dismantle structures that are not progressive, that aren’t inclusive. We talk about defunding the police—\u003ca href=\"https://www.kqed.org/news/11823700/the-yearslong-movement-to-get-police-out-of-oakland-public-schools\" target=\"_blank\" rel=\"noopener noreferrer\">well, getting the cops out of the Oakland public schools\u003c/a>, that’s a big win. We have the research that shows they don’t actually help, that they mostly just make kids feel like they’re in prison.\u003c/p>\n\u003cp>I think we double down on this thing that Fox News thinks we are, that we aren’t actually. They think we’re some sort of liberal progressive mecca, and those of us who live here know that’s not as true as people want to believe. And that, again, gets to local elections. I think the Bay Area has to really be the bright blue beacon that carries the state. And electing new people to political office is a big part of that.\u003c/p>\n\u003cp>As far as the country, I think we have to remember America has had a good PR person, and we talk about how we’re the greatest nation on earth, and then people all over the world go, “If I want to make something of myself, I should go to the greatest nation on Earth, America.” I think we have to accept the fact that that reputation is probably gone now, and we’re certainly losing it as every day goes by, as Trump says things like, “I may not leave office,” or when he gives weird speeches like he gave one comparing people to “race horses for good genes.”\u003c/p>\n\u003cp>And so we’re really in a fight, as people say, for the soul of this nation, and also maybe to become the nation that we claim to be, but that we never were. It’s actually helpful to think, what if we lose that fight? What does that mean for us? What if we become the country that our best and brightest people leave to go other places? If Trump gets reelected, then I think we’re closer to that position than we realize. Where the kids are like, “Man, I’ve got a good jump shot. I’m going to go play overseas,” you know? Or, “I’m really smart and I have good ideas and I have ways to innovate technology. I’m not going to go to Silicon Valley. I’m going to go somewhere else.”\u003c/p>\n\u003cp>We’re in a position where we’re in a very different America than the one that we’ve come to know. People talk about the Roman Empire or the British Empire. Well, this is the American Empire, and those other empires didn’t last. And so I think it’s worth thinking about. Are we on the last legs of that? And what does that look like? Because right now it feels like, as my mom said, like we’re slipping into fascism. And she said that before COVID and before George Floyd. And we’re slipping faster than that now. So are we prepared to fight for this country living under those circumstances?\u003c/p>\n\u003cp>A lot of Black people right now are like, “Ghana is giving out citizenships!” \u003cem>[Laughs]\u003c/em> So, I mean, is that the deal? And I don’t think there’s anything wrong with thinking that way.\u003c/p>\n\u003cp>\u003cstrong>I’m currently on a gap year before I go to college in the fall of 2021. And a lot of students from my class who are also taking a gap year, the first thing they did was apply for a New Zealand visa, or the ones who have parents from the U.K. or from Sweden are using their dual citizenship to go spend their whole gap year abroad, because things are open and they’re actually handling COVID. So in a way, we’ve already kind of started to see that happen.\u003c/strong>\u003c/p>\n\u003cp>And then some of those people aren’t going to come back! Maybe not half of them, but there’s going to be a couple that are like, you know, this is cool. Even if it’s one or two, that still was an inconceivable thing, before COVID, before Trump, before social unrest on the streets related to George Floyd, Breonna Taylor, and so many others.\u003c/p>\n\u003cp>And as Black folks, for those of us who are descendants of slavery, we don’t have that connection to another country. Which is why when Ghana is like, “Come here,” I think a lot of Black folks are like, \u003cem>oh\u003c/em>, I never thought about Ghana, but I’m thinking about it now.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Interview was edited for length and clarity. Learn more about W. Kamau Bell and ‘United Shades of America’ \u003ca href=\"https://www.cnn.com/shows/united-shades-of-america\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>In 2020, the United States faces an election like no other. Citizens will vote in the midst of a global pandemic, severe climate change, an uprising for racial justice and an administration that has eroded the norms of democracy. In ‘\u003ca href=\"https://www.kqed.org/arts/tag/whats-on-your-ballot\" target=\"_blank\" rel=\"noopener noreferrer\">What’s on Your Ballot?\u003c/a>,’ KQED checks in with ten different artists, activists and cultural figures about the issues on their minds and their hopes for the country.\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he day before I speak to comedian W. Kamau Bell, I wake up to a news alert: “President Trump refuses to verbally commit to peaceful transfer of power.” As we enter the seventh month of the COVID-19 pandemic in the U.S., terrifying but frequent headlines like these are a daily source of fear and trepidation, and a harsh reminder of the state of our nation.\u003c/p>\n\u003cp>At a moment when unity seems to be painfully absent in the country, Bell’s work on his Emmy Award-winning show \u003cem>\u003ca href=\"https://www.cnn.com/shows/united-shades-of-america\" target=\"_blank\" rel=\"noopener noreferrer\">United Shades of America\u003c/a>\u003c/em> seems more relevant than ever. When I catch him in a rare free moment between work calls and shooting a new season, I find a familiarity in the way he speaks: a classic Bay Area groundedness that feels like home, but also a layer of brutal realism, informed by his experiences and tough conversations with Americans of all backgrounds, and buffered by his humor. We discuss everything from Ghanaian citizenship and the prospect of a talent exodus from America, to the importance of down-ballot voting to create local change, to his least favorite question: “Are you hopeful?”\u003c/p>\n\u003cp>After we hang up the phone, I realize I can’t quite answer that question myself. But at a time when the future feels as uncertain and chaotic as it does hopeless, I do feel a greater sense of clarity—and for that I have Bell to thank.\u003cem>—Samuel Getachew\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13887384\" class=\"wp-caption alignright\" style=\"max-width: 596px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887384\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/Kamau.Inline.PeteLee.jpg\" alt=\"W. Kamau Bell\" width=\"596\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Kamau.Inline.PeteLee.jpg 596w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Kamau.Inline.PeteLee-160x215.jpg 160w\" sizes=\"(max-width: 596px) 100vw, 596px\">\u003cfigcaption class=\"wp-caption-text\">W. Kamau Bell: “When I hear white people ask questions like, ‘How do we start?’ I’m like, we’ve already started. If you don’t know how to start now, then I think it’s on you.’ \u003ccite>(Pete Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>As we head into the election, what do you make of the political climate in America today?\u003c/strong>\u003c/p>\n\u003cp>I think it’s really important for us all, but especially for young people, to realize that this is not how things are supposed to go. This is not just like, “Oh, we elected a Republican and then we elected a Democrat and we elected a Republican.” That this is not the normal state of things in America and that it is extraordinary.\u003c/p>\n\u003cp>This is the part of history that they write about. And I really think the identity of this nation is at stake right now, so I don’t think there’s any way to overstate that. While voting is a big part of it, that’s not going to solve all of our issues. It’s really about, does the United States have the appetite for true structural change in nearly every institution?\u003c/p>\n\u003cp>\u003cstrong>This is the first election that I’ll be able to vote in, and I sympathize with the frustration that a lot of my peers are expressing with the failures of electoral politics. What would you say to those who feel that voting is futile?\u003c/strong>\u003c/p>\n\u003cp>I would say look at AOC. I would say look at Cori Bush, who is \u003ca href=\"https://coribush.org/\" target=\"_blank\" rel=\"noopener noreferrer\">running for office\u003c/a>. Look at Ilhan Omar. Look at Iyanna Presley, Rashida Talib. Those are women of color who maybe didn’t even think to run until a few years ago. Certainly the idea we would have those women in high-level public office, all of them at once, seemed like a fantasy.\u003c/p>\n\u003cp>We get focused on the presidential election every four years, I think to the detriment of local elections, which are how you can really drastically change your community. Even if you don’t know all the ins and outs, do some research to see if there’s a group you align with politically—like, in San Francisco, there’s the \u003ca href=\"http://www.theleaguesf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">League of Pissed Off Voters\u003c/a>—and then they have voting guides you can follow. Don’t let any one person be your source of knowledge about this stuff. Make sure you look into multiple sources.\u003c/p>\n\u003cp>Local elections are how you can have a say in the school budget, or how police funds are distributed. And you can actually be a part of that change. If you’re 18 now, and you want to run for office—or you’re a person of color, a woman of color, or Black or indigenous or trans—this is your time. So I would say don’t leave it up to the white guys because they have totally fucked it up.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003cstrong>Through your show, you’ve met so many people from all walks of life and from all across the nation. What do you foresee being the response to Trump’s victory in November if he wins? And if he loses but refuses to concede?\u003c/strong>\u003c/p>\n\u003cp>Actually I think there’s going to be a pretty similar response if he wins or if he loses, or even if he loses and leaves right away—the funny thing about Trump, he may just get embarrassed and just leave even before his term is up. You never know what he’s going to really do.\u003c/p>\n\u003cp>But I think there is still going to be a large percentage of this country, who are his base, who are going to make democracy very difficult. Let’s not get caught up in the idea that if Biden/Harris wins, then \u003cem>Whoo! All right. Everything’s back to normal.\u003c/em> Which, we don’t want normal anyway. We all ought to be prepared for the fact that it’s going to get ugly, because I think if Trump loses, he’s going to make it look like the election was stolen from him. And if he wins, it will be in large part because he has disenfranchised voters and committed his own version of voter fraud.\u003c/p>\n\u003cp>But we have to prepare for the fact that if he loses and once he leaves, whenever that is, he’s not going to be a political leader in this country; he’s going to go try to make some money. And so then all those people end up leaderless, and then whoever steps into that leadership vacuum is the person I think I’m actually really afraid of.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>As Black men in this country, both of us are obviously all too aware of racism as a concept and as an experience; it’s nothing new or surprising. And you’ve been talking about race and racism for much of your career. But this past summer, we saw a lot of Americans, particularly white Americans, coming to terms with systemic racism for the first time in their lives. How hopeful are you about the long-term impact of this most recent wave of Black Lives Matter movement?\u003c/strong>\u003c/p>\n\u003cp>I think a lot of it is tied to what we learn from the pandemic, and also people’s appetite to engage in this Black Lives Matter discussion—specifically white people’s appetite to engage in the work of Black Lives Matter—after a vaccine comes out. If a vaccine comes out.\u003c/p>\n\u003cp>Really, it’s on white people right now to dig into the work in such a way that no matter what happens, they’re already doing the work. You can start reading a book and then put it down and never pick it up again. But once you get 100 pages in, in all likelihood you’re going to finish that book. So I feel like white people have to get 100 pages into this anti-racism work. Because I think there are still white people who are still at the place of, “How do we talk about this stuff?” And I’m like, that is a pre-George Floyd question. \u003cem>[Laughs]\u003c/em>\u003c/p>\n\u003cp>The tools have been laid before you, whether it’s \u003ca href=\"https://www.nytimes.com/2019/08/20/books/review/how-to-be-an-antiracist-ibram-x-kendi.html\" target=\"_blank\" rel=\"noopener noreferrer\">on the New York Times bestseller list\u003c/a> or on every new show you watch or on podcasts. There’s the web, there’s that \u003ca href=\"https://blacklivesmatter.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Lives Matter website\u003c/a> where they literally just have all the different things you can do. So the tools are available to you. So I think that scares me now, when I hear white people ask questions like, “How do we start?” I’m like, “we’ve already started.” If you don’t know how to start now, then I think it’s on you.\u003c/p>\n\u003cp>And the other question that I get, that I’m really annoyed by, is “are you hopeful?” I don’t think it’s time to really engage in hopefulness. Especially when white people engage in the idea of hopefulness, it’s hopeful in the sense of, “Take your foot off the accelerator.” I think it’s time right now to do the work. Hope comes at the end of all the work.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/QK4l23tYD_s'\n title='//www.youtube.com/embed/QK4l23tYD_s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Yesterday, a grand jury in Kentucky decided not to charge any of the officers who killed Breonna Taylor (aside from one charge of wanton endangerment). It was disheartening to see so few consequences for her death—after so many months of protests, after putting her on magazine covers, plastering her name everywhere. Where do we go when all of our work seems futile, and no matter how hard we fight for someone, we never get any justice? What is the next course of action when it feels like every action fails?\u003c/strong>\u003c/p>\n\u003cp>I think you’re asking the question that every activist and organizer at upper levels is asking right now. I think a part of it is making sure that it stays in people’s minds, because a lot of people have done the work, but most of the country was not focused on Breonna Taylor. There’s still a lot of the country who maybe just heard her name for the first time yesterday. So I think that part of it is mainstreaming the story, you know, when you see \u003ca href=\"https://nba.nbcsports.com/2020/09/23/for-nba-players-breonna-taylor-grand-jury-decision-not-enough/\" target=\"_blank\" rel=\"noopener noreferrer\">NBA players talking about her\u003c/a>, that’s a part of it. Getting her name into a place where like regular folks who aren’t looking to pay attention have to pay attention.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But also, I think we know the battle is eternal in this country. We’re still trying to get Emmett Till’s name cleared, in some sense. I think Martin Luther King Jr. is very clear: “I may not get there with you to the promised land.” But I don’t think he thought the promised land was that close. I think he knew. So I think we have to really engage in multiple levels of the battle.\u003c/p>\n\u003cp>I try to focus on things that I can help out with, where I can see progress. That’s why I do things like donate to \u003ca href=\"https://www.donorschoose.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Donors Choose\u003c/a>, which helps support public schools all around the country, and get things that those classrooms and students need, whether it’s books or supplies or a trombone or STEM materials. That’s something I can see a result from, and those kids are going to be helped. So I think there’s that, and then there’s going out in the streets just because you need to go out in the streets.\u003c/p>\n\u003cp>And then there’s levels of the kind of work you do in your life, where you make sure your white friends don’t say racist shit, that they don’t shy away from discussions about racism, that they actually hear and pay attention. And then there’s the piece of voting. It’s the same thing as like, doing one push up ain’t gonna do a lot for you. And if you only do push-ups, the rest of your body is going to suffer. You have to do a lot of different things at a lot of different levels to see results.\u003c/p>\n\u003cfigure id=\"attachment_13887387\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887387\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/Kamau.INline2.PeteLee.jpg\" alt=\"W. Kamau Bell\" width=\"600\" height=\"784\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Kamau.INline2.PeteLee.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Kamau.INline2.PeteLee-160x209.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">W. Kamau Bell: “Let’s not get caught up in the idea that if Biden/Harris wins, then ‘Whoo! All right. Everything’s back to normal.’ We don’t want normal anyway. We all ought to be prepared for the fact that it’s going to get ugly.” \u003ccite>(Pete Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>After the election, no matter how it goes, what are your hopes and goals for the country and for the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>I think that the Bay Area, and really California as a whole, should do everything it can to mark itself as the most progressive state in this country. And that’s difficult because as we found out through COVID, there’s a lot of red in this state.\u003c/p>\n\u003cp>So I think specifically for the Bay Area, we have to legislate and we have to dismantle structures that are not progressive, that aren’t inclusive. We talk about defunding the police—\u003ca href=\"https://www.kqed.org/news/11823700/the-yearslong-movement-to-get-police-out-of-oakland-public-schools\" target=\"_blank\" rel=\"noopener noreferrer\">well, getting the cops out of the Oakland public schools\u003c/a>, that’s a big win. We have the research that shows they don’t actually help, that they mostly just make kids feel like they’re in prison.\u003c/p>\n\u003cp>I think we double down on this thing that Fox News thinks we are, that we aren’t actually. They think we’re some sort of liberal progressive mecca, and those of us who live here know that’s not as true as people want to believe. And that, again, gets to local elections. I think the Bay Area has to really be the bright blue beacon that carries the state. And electing new people to political office is a big part of that.\u003c/p>\n\u003cp>As far as the country, I think we have to remember America has had a good PR person, and we talk about how we’re the greatest nation on earth, and then people all over the world go, “If I want to make something of myself, I should go to the greatest nation on Earth, America.” I think we have to accept the fact that that reputation is probably gone now, and we’re certainly losing it as every day goes by, as Trump says things like, “I may not leave office,” or when he gives weird speeches like he gave one comparing people to “race horses for good genes.”\u003c/p>\n\u003cp>And so we’re really in a fight, as people say, for the soul of this nation, and also maybe to become the nation that we claim to be, but that we never were. It’s actually helpful to think, what if we lose that fight? What does that mean for us? What if we become the country that our best and brightest people leave to go other places? If Trump gets reelected, then I think we’re closer to that position than we realize. Where the kids are like, “Man, I’ve got a good jump shot. I’m going to go play overseas,” you know? Or, “I’m really smart and I have good ideas and I have ways to innovate technology. I’m not going to go to Silicon Valley. I’m going to go somewhere else.”\u003c/p>\n\u003cp>We’re in a position where we’re in a very different America than the one that we’ve come to know. People talk about the Roman Empire or the British Empire. Well, this is the American Empire, and those other empires didn’t last. And so I think it’s worth thinking about. Are we on the last legs of that? And what does that look like? Because right now it feels like, as my mom said, like we’re slipping into fascism. And she said that before COVID and before George Floyd. And we’re slipping faster than that now. So are we prepared to fight for this country living under those circumstances?\u003c/p>\n\u003cp>A lot of Black people right now are like, “Ghana is giving out citizenships!” \u003cem>[Laughs]\u003c/em> So, I mean, is that the deal? And I don’t think there’s anything wrong with thinking that way.\u003c/p>\n\u003cp>\u003cstrong>I’m currently on a gap year before I go to college in the fall of 2021. And a lot of students from my class who are also taking a gap year, the first thing they did was apply for a New Zealand visa, or the ones who have parents from the U.K. or from Sweden are using their dual citizenship to go spend their whole gap year abroad, because things are open and they’re actually handling COVID. So in a way, we’ve already kind of started to see that happen.\u003c/strong>\u003c/p>\n\u003cp>And then some of those people aren’t going to come back! Maybe not half of them, but there’s going to be a couple that are like, you know, this is cool. Even if it’s one or two, that still was an inconceivable thing, before COVID, before Trump, before social unrest on the streets related to George Floyd, Breonna Taylor, and so many others.\u003c/p>\n\u003cp>And as Black folks, for those of us who are descendants of slavery, we don’t have that connection to another country. Which is why when Ghana is like, “Come here,” I think a lot of Black folks are like, \u003cem>oh\u003c/em>, I never thought about Ghana, but I’m thinking about it now.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Interview was edited for length and clarity. Learn more about W. Kamau Bell and ‘United Shades of America’ \u003ca href=\"https://www.cnn.com/shows/united-shades-of-america\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Comedian W. Kamau Bell often uses humor to shed light on various forms of inequality, and his new series of animated shorts, \u003cem>Talk Boring to Me\u003c/em>, is no exception. The new project premiered today on his \u003ca href=\"https://www.youtube.com/channel/UCauTAKMR6G3CUVksoOexuUw\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube channel\u003c/a>, and in it Bell breaks down economic and political issues such as the gig economy, commercial farming and homelessness in five-minute segments animated by Idle Hands Productions.\u003c/p>\n\u003cp>Co-created with Jacob Kornbluth, these videos provide zoomed-out, big-picture takes on \u003cem>why\u003c/em> life in the United States is the way it is. Bell unpacks the political decisions that have disenfranchised workers, small farmers, renters and public school students, especially those of color. With jokes and digestible talking points, he explains the policies that made America the land of unequal opportunity.\u003c/p>\n\u003cp>If you’re a diehard news consumer, the subjects covered in \u003cem>Talk Boring to Me \u003c/em>might already be familiar. But the series is perfect for those who want to understand the historical context of the issues that shape our world, especially young people who aren’t taught about systemic inequality in their school curricula. Fans of \u003cem>The Daily Show\u003c/em> and \u003cem>Last Week Tonight with John Oliver\u003c/em>, take note.\u003c/p>\n\u003cp>https://youtu.be/XjH_vhLBpKg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Comedian W. Kamau Bell often uses humor to shed light on various forms of inequality, and his new series of animated shorts, \u003cem>Talk Boring to Me\u003c/em>, is no exception. The new project premiered today on his \u003ca href=\"https://www.youtube.com/channel/UCauTAKMR6G3CUVksoOexuUw\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube channel\u003c/a>, and in it Bell breaks down economic and political issues such as the gig economy, commercial farming and homelessness in five-minute segments animated by Idle Hands Productions.\u003c/p>\n\u003cp>Co-created with Jacob Kornbluth, these videos provide zoomed-out, big-picture takes on \u003cem>why\u003c/em> life in the United States is the way it is. Bell unpacks the political decisions that have disenfranchised workers, small farmers, renters and public school students, especially those of color. With jokes and digestible talking points, he explains the policies that made America the land of unequal opportunity.\u003c/p>\n\u003cp>If you’re a diehard news consumer, the subjects covered in \u003cem>Talk Boring to Me \u003c/em>might already be familiar. But the series is perfect for those who want to understand the historical context of the issues that shape our world, especially young people who aren’t taught about systemic inequality in their school curricula. Fans of \u003cem>The Daily Show\u003c/em> and \u003cem>Last Week Tonight with John Oliver\u003c/em>, take note.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XjH_vhLBpKg'\n title='//www.youtube.com/embed/XjH_vhLBpKg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>As more detailed demographic information about COVID-19 deaths emerges, the virus’ disproportionate effect on black and brown populations is becoming painfully clear. In Michigan, \u003ca href=\"https://www.nytimes.com/aponline/2020/04/05/us/ap-us-virus-outbreak-tuskegee-mistrust.html\" target=\"_blank\" rel=\"noopener noreferrer\">40% of those who have died\u003c/a> from COVID-19 are black, yet African Americans represent just 14% of the state’s population. Cities with large black populations—including Chicago, Detroit and New Orleans—are the growing coronavirus hot spots.\u003c/p>\n\u003cp>Inequities in access to testing, insufficient care stemming from racial bias, chronic preexisting conditions, lack of health insurance and long-standing mistrust of the medical establishment all combine to make this pandemic even more dangerous for these already vulnerable communities.\u003c/p>\n\u003cp>Which is why comedian W. Kamau Bell is joining civil rights leader and pastor Michael McBride to help raise $1 million in a new humanitarian campaign called “\u003ca href=\"http://www.livefreeusa.org/masksforthepeople\" target=\"_blank\" rel=\"noopener noreferrer\">Masks for the People\u003c/a>.” Those funds will go towards sourcing masks and hand sanitizer directly from manufacturers, creating an uninterrupted supply chain of much-needed resources to black and brown populations in urban and rural settings alike.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13878145\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Masks.jpg\" alt=\"\" width=\"1080\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Masks.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Masks-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Masks-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Masks-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Masks-1020x1020.jpg 1020w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003c/p>\n\u003cp>McBride is the director of Faith in Action’s \u003ca href=\"http://www.livefreeusa.org/\" target=\"_blank\" rel=\"noopener noreferrer\">LIVE FREE\u003c/a> campaign, a network of congregations and community leaders that works to reduce the prison population and end gun violence. He says the $1 million will buy them 250,000 N95 masks, one million surgical masks and about 50,000 gallons of hand sanitizer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The campaign begins Monday, April 6 at 6pm with an \u003ca href=\"https://www.instagram.com/wkamaubell/\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram Live event\u003c/a> co-hosted by Kamau Bell and McBride, featuring a lengthy list of speakers and special guests, including Warriors coach Steve Kerr, musician Erica Campbell, Black Lives Matter co-founder Alicia Garza and Phillip Agnew, senior advisor for the Bernie Sanders campaign.\u003c/p>\n\u003cp>The event isn’t geared toward entertainment alone (though Kamau Bell will likely keep things lively); activists, medical professionals and journalists will share their knowledge with viewers. These days, information is another form of personal protective equipment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The pastor says the April 6 event is just the start of a nationwide campaign to deliver resources and information to communities otherwise unable to access them. “We do not believe these lives should be written off or be deemed as disposable,” McBride says. “So we’re going to do our part to make sure that they are not forgotten.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As more detailed demographic information about COVID-19 deaths emerges, the virus’ disproportionate effect on black and brown populations is becoming painfully clear. In Michigan, \u003ca href=\"https://www.nytimes.com/aponline/2020/04/05/us/ap-us-virus-outbreak-tuskegee-mistrust.html\" target=\"_blank\" rel=\"noopener noreferrer\">40% of those who have died\u003c/a> from COVID-19 are black, yet African Americans represent just 14% of the state’s population. Cities with large black populations—including Chicago, Detroit and New Orleans—are the growing coronavirus hot spots.\u003c/p>\n\u003cp>Inequities in access to testing, insufficient care stemming from racial bias, chronic preexisting conditions, lack of health insurance and long-standing mistrust of the medical establishment all combine to make this pandemic even more dangerous for these already vulnerable communities.\u003c/p>\n\u003cp>Which is why comedian W. Kamau Bell is joining civil rights leader and pastor Michael McBride to help raise $1 million in a new humanitarian campaign called “\u003ca href=\"http://www.livefreeusa.org/masksforthepeople\" target=\"_blank\" rel=\"noopener noreferrer\">Masks for the People\u003c/a>.” Those funds will go towards sourcing masks and hand sanitizer directly from manufacturers, creating an uninterrupted supply chain of much-needed resources to black and brown populations in urban and rural settings alike.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13878145\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Masks.jpg\" alt=\"\" width=\"1080\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Masks.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Masks-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Masks-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Masks-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Masks-1020x1020.jpg 1020w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003c/p>\n\u003cp>McBride is the director of Faith in Action’s \u003ca href=\"http://www.livefreeusa.org/\" target=\"_blank\" rel=\"noopener noreferrer\">LIVE FREE\u003c/a> campaign, a network of congregations and community leaders that works to reduce the prison population and end gun violence. He says the $1 million will buy them 250,000 N95 masks, one million surgical masks and about 50,000 gallons of hand sanitizer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The campaign begins Monday, April 6 at 6pm with an \u003ca href=\"https://www.instagram.com/wkamaubell/\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram Live event\u003c/a> co-hosted by Kamau Bell and McBride, featuring a lengthy list of speakers and special guests, including Warriors coach Steve Kerr, musician Erica Campbell, Black Lives Matter co-founder Alicia Garza and Phillip Agnew, senior advisor for the Bernie Sanders campaign.\u003c/p>\n\u003cp>The event isn’t geared toward entertainment alone (though Kamau Bell will likely keep things lively); activists, medical professionals and journalists will share their knowledge with viewers. These days, information is another form of personal protective equipment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The pastor says the April 6 event is just the start of a nationwide campaign to deliver resources and information to communities otherwise unable to access them. “We do not believe these lives should be written off or be deemed as disposable,” McBride says. “So we’re going to do our part to make sure that they are not forgotten.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This week, we welcome back co-host and playwright A-lan Holt to begin a new year of The Do List — and we’re championing some smaller arts organizations doing exciting work. They include the Oakland Symphony with a killer program of songs, Opera Parallèle with a production for kids and adults, and Marin’s Alter Theater with two new plays.\u003c/p>\n\u003cp>Thanks so much to our South Bay Arts Reporter Rachael Myrow for filling in for me last week, as I finished a much-needed break. Enjoy the show!\u003c/p>\n\u003cp>\u003cstrong>Jan. 19\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/a-playlist-to-entice-new-listeners-to-the-oakland-symphony/\" target=\"_blank\" rel=\"noopener\">The Oakland Symphony invites W. Kamau Bell to curate a concert mixing jazz, rock and classical\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 12-15\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/the-colorful-world-of-comic-books-discovers-the-power-of-black/\" target=\"_blank\" rel=\"noopener\">The Black Comix Arts Festival opens just as buzz builds for the Black Panther movie. \u003cem>KAPOW\u003c/em>\u003c/a>!\u003c/p>\n\u003cp>\u003cstrong>Jan. 18 & 20\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/11/an-opera-about-bullying-draws-advice-from-harriet-tubmans-spirit/\" target=\"_blank\" rel=\"noopener\">Opera Parallèle offers a world premiere about Harriet Tubman’s spirit, with music by the Bay Area’s Marcus Shelby\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Jan. 11-21\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/radically-political-new-plays-from-writers-of-color/\" target=\"_blank\" rel=\"noopener\">Marin’s Alter Theater brings two plays by two brilliant young playwrights of color to A.C.T.’s Costume Shop\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 18: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/the-friendliest-black-artist-in-america-comes-to-stanford/\" target=\"_blank\" rel=\"noopener\">William Pope.L ‘s business card says he’s the “friendliest black artist in America,” but he’s also among the most provocative\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 12:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/politics-and-dance-music-from-la-gente-and-soltron/\" target=\"_blank\" rel=\"noopener\">La Gente’s mix of cumbia, salsa, reggae and hip hop is intoxicating\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 14\u003c/strong>:\u003ca href=\"https://www.livingjazz.org/mlktribute/\" target=\"_blank\" rel=\"noopener\"> ‘In the Name of Love,’ a tribute to Martin Luther King, returns to the Scottish Rite Temple in Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 18\u003c/strong>: \u003ca href=\"http://www.citylights.com/book/?GCOI=87286100167860&fa=events\" target=\"_blank\" rel=\"noopener\">Daniel Ellsberg talks about his new book \u003cem>Confessions of a Nuclear War Planner \u003c/em>at the Mechanics Institute Library\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13818818\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818818\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-800x461.jpg\" alt=\"Do List co-hosts A-lan Holt and Cy Musiker\" width=\"800\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-800x461.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-768x442.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1020x587.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1920x1105.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1180x679.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-960x553.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-240x138.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-375x216.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-520x299.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507.jpg 2001w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Do List co-hosts A-lan Holt and Cy Musiker. \u003ccite>(Photo: Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week, we welcome back co-host and playwright A-lan Holt to begin a new year of The Do List — and we’re championing some smaller arts organizations doing exciting work. They include the Oakland Symphony with a killer program of songs, Opera Parallèle with a production for kids and adults, and Marin’s Alter Theater with two new plays.\u003c/p>\n\u003cp>Thanks so much to our South Bay Arts Reporter Rachael Myrow for filling in for me last week, as I finished a much-needed break. Enjoy the show!\u003c/p>\n\u003cp>\u003cstrong>Jan. 19\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/a-playlist-to-entice-new-listeners-to-the-oakland-symphony/\" target=\"_blank\" rel=\"noopener\">The Oakland Symphony invites W. Kamau Bell to curate a concert mixing jazz, rock and classical\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 12-15\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/the-colorful-world-of-comic-books-discovers-the-power-of-black/\" target=\"_blank\" rel=\"noopener\">The Black Comix Arts Festival opens just as buzz builds for the Black Panther movie. \u003cem>KAPOW\u003c/em>\u003c/a>!\u003c/p>\n\u003cp>\u003cstrong>Jan. 18 & 20\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/11/an-opera-about-bullying-draws-advice-from-harriet-tubmans-spirit/\" target=\"_blank\" rel=\"noopener\">Opera Parallèle offers a world premiere about Harriet Tubman’s spirit, with music by the Bay Area’s Marcus Shelby\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jan. 11-21\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/radically-political-new-plays-from-writers-of-color/\" target=\"_blank\" rel=\"noopener\">Marin’s Alter Theater brings two plays by two brilliant young playwrights of color to A.C.T.’s Costume Shop\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 18: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/the-friendliest-black-artist-in-america-comes-to-stanford/\" target=\"_blank\" rel=\"noopener\">William Pope.L ‘s business card says he’s the “friendliest black artist in America,” but he’s also among the most provocative\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 12:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/politics-and-dance-music-from-la-gente-and-soltron/\" target=\"_blank\" rel=\"noopener\">La Gente’s mix of cumbia, salsa, reggae and hip hop is intoxicating\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 14\u003c/strong>:\u003ca href=\"https://www.livingjazz.org/mlktribute/\" target=\"_blank\" rel=\"noopener\"> ‘In the Name of Love,’ a tribute to Martin Luther King, returns to the Scottish Rite Temple in Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 18\u003c/strong>: \u003ca href=\"http://www.citylights.com/book/?GCOI=87286100167860&fa=events\" target=\"_blank\" rel=\"noopener\">Daniel Ellsberg talks about his new book \u003cem>Confessions of a Nuclear War Planner \u003c/em>at the Mechanics Institute Library\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13818818\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818818\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-800x461.jpg\" alt=\"Do List co-hosts A-lan Holt and Cy Musiker\" width=\"800\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-800x461.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-768x442.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1020x587.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1920x1105.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1180x679.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-960x553.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-240x138.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-375x216.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-520x299.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507.jpg 2001w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Do List co-hosts A-lan Holt and Cy Musiker. \u003ccite>(Photo: Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Conductor Michael Morgan is always looking for ways to bring new audiences out to hear the Oakland Symphony, and in this first concert of the new year, he’s got what we think is a winner — comedian and social activist W. Kamau Bell curating the Jan. 19 program.\u003c/p>\n\u003cp>For his “playlist,” Bell has chosen songs by Nina Simone, Prince, Jimi Hendrix, and even a segment from John Coltrane’s “A Love Supreme.” Arrangements for this very big band are handled by the Jazz Mafia’s Adam Theis, and some of the Bay Area’s best singers and players will be on hand to perform, including singers Tossie Long and Zakiya Harris as well as the Jazz Mafia horns. Details \u003ca href=\"https://www.oaklandsymphony.org/event/w-kamau-bells-playlist/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11494411\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11494411\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/kamau-bell-headshot-2-bd2d89c8da37fbf85ced79744588a019ba0a7630-e1460677964927-800x488.jpg\" alt=\"W. Kamau Bell describes his new CNN series, United Shades of America, as a travel show that will take him places he is afraid to go.\" width=\"800\" height=\"488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/kamau-bell-headshot-2-bd2d89c8da37fbf85ced79744588a019ba0a7630-e1460677964927-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/kamau-bell-headshot-2-bd2d89c8da37fbf85ced79744588a019ba0a7630-e1460677964927-400x244.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/kamau-bell-headshot-2-bd2d89c8da37fbf85ced79744588a019ba0a7630-e1460677964927-768x469.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/kamau-bell-headshot-2-bd2d89c8da37fbf85ced79744588a019ba0a7630-e1460677964927-1180x720.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/kamau-bell-headshot-2-bd2d89c8da37fbf85ced79744588a019ba0a7630-e1460677964927-960x586.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/kamau-bell-headshot-2-bd2d89c8da37fbf85ced79744588a019ba0a7630-e1460677964927.jpg 1439w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">W. Kamau Bell describes his new CNN series, United Shades of America, as a travel show that will take him places he is afraid to go. \u003ccite>(Photo: Courtesy of CNN)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On his own, Kamau Bell does a standup gig at the Punchline in San Francisco Jan. 29 and 30. Details \u003ca href=\"http://www.punchlinecomedyclub.com/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Conductor Michael Morgan is always looking for ways to bring new audiences out to hear the Oakland Symphony, and in this first concert of the new year, he’s got what we think is a winner — comedian and social activist W. Kamau Bell curating the Jan. 19 program.\u003c/p>\n\u003cp>For his “playlist,” Bell has chosen songs by Nina Simone, Prince, Jimi Hendrix, and even a segment from John Coltrane’s “A Love Supreme.” Arrangements for this very big band are handled by the Jazz Mafia’s Adam Theis, and some of the Bay Area’s best singers and players will be on hand to perform, including singers Tossie Long and Zakiya Harris as well as the Jazz Mafia horns. Details \u003ca href=\"https://www.oaklandsymphony.org/event/w-kamau-bells-playlist/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11494411\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11494411\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/kamau-bell-headshot-2-bd2d89c8da37fbf85ced79744588a019ba0a7630-e1460677964927-800x488.jpg\" alt=\"W. Kamau Bell describes his new CNN series, United Shades of America, as a travel show that will take him places he is afraid to go.\" width=\"800\" height=\"488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/kamau-bell-headshot-2-bd2d89c8da37fbf85ced79744588a019ba0a7630-e1460677964927-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/kamau-bell-headshot-2-bd2d89c8da37fbf85ced79744588a019ba0a7630-e1460677964927-400x244.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/kamau-bell-headshot-2-bd2d89c8da37fbf85ced79744588a019ba0a7630-e1460677964927-768x469.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/kamau-bell-headshot-2-bd2d89c8da37fbf85ced79744588a019ba0a7630-e1460677964927-1180x720.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/kamau-bell-headshot-2-bd2d89c8da37fbf85ced79744588a019ba0a7630-e1460677964927-960x586.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/kamau-bell-headshot-2-bd2d89c8da37fbf85ced79744588a019ba0a7630-e1460677964927.jpg 1439w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">W. Kamau Bell describes his new CNN series, United Shades of America, as a travel show that will take him places he is afraid to go. \u003ccite>(Photo: Courtesy of CNN)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On his own, Kamau Bell does a standup gig at the Punchline in San Francisco Jan. 29 and 30. Details \u003ca href=\"http://www.punchlinecomedyclub.com/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Could Nato Green Be Recording His Last Comedy Album?",
"headTitle": "Could Nato Green Be Recording His Last Comedy Album? | KQED",
"content": "\u003cp>Nato Green records a new stand up album this Saturday, and it’s all about being white. It already has a name — \u003ci>The Whiteness Album\u003c/i> — and on it, the self-proclaimed “official spokesperson of all white people” will be covering all the hot topics: gentrification, raising white children in a big city, and, of course, President Donald Trump.\u003c/p>\n\u003cp>“I’m having a talk with the whites,” Green says.\u003c/p>\n\u003cp>Green, 42, has always been an aggressively left-wing comic. But his reasons for making an album now are nothing like what they were when recorded his first album, \u003ci>The Nato Green Party,\u003c/i> five years ago. Back then, Green was building up his resume and press packet in the hopes of climbing the comedy ladder. It did: a few months after it was released, he was writing for the FX show \u003ci>Totally Biased with W. Kamau Bell.\u003c/i>\u003c/p>\n\u003cp>For his second album, Green says he wants to capture a moment in time. He sees a shelf life for some of the material — “jokes I wrote a month after Trump’s inauguration don’t work anymore” — and he’s whittled down overwhelming amount of jokes he’s written post-election into a tight set.\u003c/p>\n\u003cp>He also feels that he should do something before he moves to Cuba, because he doesn’t know how long he will be there.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m issuing my last will and testament,” Green says. “I don’t wanna leave the country and not have left the right body of work behind.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VH7FXdFxKWk\u003c/p>\n\u003ch2>A Late Start\u003c/h2>\n\u003cp>Green grew up in San Francisco in the ’70s and ’80s, a time when the city’s local comedy scene was not only easily accessible, it was ubiquitous. Back then, the San Francisco Comedy Competition and Comedy Day were extremely well-attended events, and the city boasted twice the number of comedy clubs it does today. Even KQED hosted a TV show featuring local comedians. It was called \u003ci>Comedy Tonight\u003c/i> and it lasted almost a decade.\u003c/p>\n\u003cp>Green was going to college in Oregon when he first tried stand-up. The father of Green’s friend ran the Comedy Underground in Seattle, so the two drove up one night and tried out some material.\u003c/p>\n\u003cp>“It was April 1, 1996, and it was the closest I’ve ever come to literally sh*tting my pants as an adult,” Green says.\u003c/p>\n\u003cp>It did not go well. Green bombed, so he turned his attention back to his first love: politics. Green grew up in an activist family and it rubbed off on him early. By college, Green focused his energies on becoming a labor organizer and activist, which he pursued for the next decade.\u003c/p>\n\u003cp>Green’s successes in the labor world led to speaking engagements around the country. It was during these speeches that he realized he was focusing on the funny bits, obsessing over their structure and how they landed with audiences. He figured he might as well give stand-up another shot, so he went down to the open mic at San Francisco’s Brainwash Cafe & Laundromat. He bombed again, but he’d caught the comedy bug; he kept at it. He found his voice when he decided to go political.\u003c/p>\n\u003cfigure id=\"attachment_13815730\" 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/Nato-by-Red-Scott-800x1120.jpg\" alt=\"Nato Green in 2017\" width=\"800\" height=\"1120\" class=\"size-medium wp-image-13815730\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Nato-by-Red-Scott-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Nato-by-Red-Scott-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Nato-by-Red-Scott-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Nato-by-Red-Scott-1020x1427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Nato-by-Red-Scott.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Nato-by-Red-Scott-1180x1651.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Nato-by-Red-Scott-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Nato-by-Red-Scott-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Nato-by-Red-Scott-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Nato-by-Red-Scott-520x728.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nato Green in 2017 \u003ccite>(Red Scott)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I started out trying to do dick jokes like everyone else, ” Green says. “Then Hurricane Katrina hit and I got upset about it. I rewrote my entire act so it was about the hurricane and the news, and that was the first time I got laughs.”\u003c/p>\n\u003cp>Green kept on working, starting popular live shows like \u003cem>Iron Comic\u003c/em> and putting together the Laughter Against the Machine tour with friends W. Kamau Bell and Janine Brito. Then when superstar comic Chris Rock offered to produce a show for Bell — \u003ci>Totally Biased\u003c/i> — Green was tapped to write for it.\u003c/p>\n\u003cp>He did not like the job. For one, it forced him to move to New York and leave his family behind in San Francisco. On top of that, talk show writing means cranking out jokes like a factory, all focusing on the crazy news stories of the day, and that’s not how Green works. When FX canceled \u003ci>Totally Biased\u003c/i> two years later, Green reflected on what he wanted to do with his comedy. He realized if fame meant compromising, he wouldn’t be famous.\u003c/p>\n\u003cp>“The things you have to do to reach success, I don’t want to do them. I don’t have the patience for garbage,” Green says.\u003c/p>\n\u003ch2>Nato in Cuba\u003c/h2>\n\u003cp>The normally-monotone Green lightens up when he talks about the successful comedians who started at the same time he did. Ali Wong, Hasan Minhaj, Moshe Kasher and Chris Garcia are just a few, and Green says he’s honestly proud of them. When his old boss Bell came home with an Emmy earlier this year, Green celebrated with him the day after he arrived.\u003c/p>\n\u003cp>https://www.facebook.com/photo.php?fbid=10155700945144265&set=a.10152329411164265.1073741827.643874264&type=3&theater\u003c/p>\n\u003cp>Back in San Francisco, Green returned to consulting with and negotiating for labor unions. He also started a short \u003ca href=\"http://kalw.org/programs/fsfsf#stream/0\" rel=\"noopener\" target=\"_blank\">radio show about comedy\u003c/a> for KALW and a \u003ca href=\"http://www.sfexaminer.com/author/n_green/\" rel=\"noopener\" target=\"_blank\">column on local politics\u003c/a> for the \u003cem>SF Examiner\u003c/em>. Then his wife, a doctoral candidate in medical anthropology, chose to pursue her studies in Cuba. They agreed the entire family should join her.\u003c/p>\n\u003cp>“The Nato-ist Nato Green thing I could do when leaving the country is to move to Cuba,” Green says.\u003c/p>\n\u003cp>Once in Cuba, Green plans on focusing on his writing and raising his 9-year-old twin daughters. But after spending the last 12 years of his life on stage telling jokes, Green says he wouldn’t be surprised if he put on a free show in an expat bookstore from time to time.\u003c/p>\n\u003cp>“I’m a guy who needs to talk on a microphone,” Green says. “It’s a thing I needed to realize about myself, and plan accordingly.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Nato Green records his second album at Doc’s Lab in San Francisco on Saturday, Nov. 25 at 10pm. His final show before moving to Cuba is Riffer’s Delight showing of ‘Wargames’ at the Alamo Drafthouse on Monday, Nov. 27.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nato Green records a new stand up album this Saturday, and it’s all about being white. It already has a name — \u003ci>The Whiteness Album\u003c/i> — and on it, the self-proclaimed “official spokesperson of all white people” will be covering all the hot topics: gentrification, raising white children in a big city, and, of course, President Donald Trump.\u003c/p>\n\u003cp>“I’m having a talk with the whites,” Green says.\u003c/p>\n\u003cp>Green, 42, has always been an aggressively left-wing comic. But his reasons for making an album now are nothing like what they were when recorded his first album, \u003ci>The Nato Green Party,\u003c/i> five years ago. Back then, Green was building up his resume and press packet in the hopes of climbing the comedy ladder. It did: a few months after it was released, he was writing for the FX show \u003ci>Totally Biased with W. Kamau Bell.\u003c/i>\u003c/p>\n\u003cp>For his second album, Green says he wants to capture a moment in time. He sees a shelf life for some of the material — “jokes I wrote a month after Trump’s inauguration don’t work anymore” — and he’s whittled down overwhelming amount of jokes he’s written post-election into a tight set.\u003c/p>\n\u003cp>He also feels that he should do something before he moves to Cuba, because he doesn’t know how long he will be there.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m issuing my last will and testament,” Green says. “I don’t wanna leave the country and not have left the right body of work behind.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/VH7FXdFxKWk'\n title='//www.youtube.com/embed/VH7FXdFxKWk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>A Late Start\u003c/h2>\n\u003cp>Green grew up in San Francisco in the ’70s and ’80s, a time when the city’s local comedy scene was not only easily accessible, it was ubiquitous. Back then, the San Francisco Comedy Competition and Comedy Day were extremely well-attended events, and the city boasted twice the number of comedy clubs it does today. Even KQED hosted a TV show featuring local comedians. It was called \u003ci>Comedy Tonight\u003c/i> and it lasted almost a decade.\u003c/p>\n\u003cp>Green was going to college in Oregon when he first tried stand-up. The father of Green’s friend ran the Comedy Underground in Seattle, so the two drove up one night and tried out some material.\u003c/p>\n\u003cp>“It was April 1, 1996, and it was the closest I’ve ever come to literally sh*tting my pants as an adult,” Green says.\u003c/p>\n\u003cp>It did not go well. Green bombed, so he turned his attention back to his first love: politics. Green grew up in an activist family and it rubbed off on him early. By college, Green focused his energies on becoming a labor organizer and activist, which he pursued for the next decade.\u003c/p>\n\u003cp>Green’s successes in the labor world led to speaking engagements around the country. It was during these speeches that he realized he was focusing on the funny bits, obsessing over their structure and how they landed with audiences. He figured he might as well give stand-up another shot, so he went down to the open mic at San Francisco’s Brainwash Cafe & Laundromat. He bombed again, but he’d caught the comedy bug; he kept at it. He found his voice when he decided to go political.\u003c/p>\n\u003cfigure id=\"attachment_13815730\" 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/Nato-by-Red-Scott-800x1120.jpg\" alt=\"Nato Green in 2017\" width=\"800\" height=\"1120\" class=\"size-medium wp-image-13815730\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Nato-by-Red-Scott-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Nato-by-Red-Scott-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Nato-by-Red-Scott-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Nato-by-Red-Scott-1020x1427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Nato-by-Red-Scott.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Nato-by-Red-Scott-1180x1651.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Nato-by-Red-Scott-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Nato-by-Red-Scott-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Nato-by-Red-Scott-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Nato-by-Red-Scott-520x728.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nato Green in 2017 \u003ccite>(Red Scott)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I started out trying to do dick jokes like everyone else, ” Green says. “Then Hurricane Katrina hit and I got upset about it. I rewrote my entire act so it was about the hurricane and the news, and that was the first time I got laughs.”\u003c/p>\n\u003cp>Green kept on working, starting popular live shows like \u003cem>Iron Comic\u003c/em> and putting together the Laughter Against the Machine tour with friends W. Kamau Bell and Janine Brito. Then when superstar comic Chris Rock offered to produce a show for Bell — \u003ci>Totally Biased\u003c/i> — Green was tapped to write for it.\u003c/p>\n\u003cp>He did not like the job. For one, it forced him to move to New York and leave his family behind in San Francisco. On top of that, talk show writing means cranking out jokes like a factory, all focusing on the crazy news stories of the day, and that’s not how Green works. When FX canceled \u003ci>Totally Biased\u003c/i> two years later, Green reflected on what he wanted to do with his comedy. He realized if fame meant compromising, he wouldn’t be famous.\u003c/p>\n\u003cp>“The things you have to do to reach success, I don’t want to do them. I don’t have the patience for garbage,” Green says.\u003c/p>\n\u003ch2>Nato in Cuba\u003c/h2>\n\u003cp>The normally-monotone Green lightens up when he talks about the successful comedians who started at the same time he did. Ali Wong, Hasan Minhaj, Moshe Kasher and Chris Garcia are just a few, and Green says he’s honestly proud of them. When his old boss Bell came home with an Emmy earlier this year, Green celebrated with him the day after he arrived.\u003c/p>\n\u003cp>https://www.facebook.com/photo.php?fbid=10155700945144265&set=a.10152329411164265.1073741827.643874264&type=3&theater\u003c/p>\n\u003cp>Back in San Francisco, Green returned to consulting with and negotiating for labor unions. He also started a short \u003ca href=\"http://kalw.org/programs/fsfsf#stream/0\" rel=\"noopener\" target=\"_blank\">radio show about comedy\u003c/a> for KALW and a \u003ca href=\"http://www.sfexaminer.com/author/n_green/\" rel=\"noopener\" target=\"_blank\">column on local politics\u003c/a> for the \u003cem>SF Examiner\u003c/em>. Then his wife, a doctoral candidate in medical anthropology, chose to pursue her studies in Cuba. They agreed the entire family should join her.\u003c/p>\n\u003cp>“The Nato-ist Nato Green thing I could do when leaving the country is to move to Cuba,” Green says.\u003c/p>\n\u003cp>Once in Cuba, Green plans on focusing on his writing and raising his 9-year-old twin daughters. But after spending the last 12 years of his life on stage telling jokes, Green says he wouldn’t be surprised if he put on a free show in an expat bookstore from time to time.\u003c/p>\n\u003cp>“I’m a guy who needs to talk on a microphone,” Green says. “It’s a thing I needed to realize about myself, and plan accordingly.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Nato Green records his second album at Doc’s Lab in San Francisco on Saturday, Nov. 25 at 10pm. His final show before moving to Cuba is Riffer’s Delight showing of ‘Wargames’ at the Alamo Drafthouse on Monday, Nov. 27.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When W. Kamau Bell and his show \u003ci>United Shades of America\u003c/i> won the Emmy Award for Outstanding Unstructured Reality Program last Saturday, many were surprised — but none more than Bell himself. \u003c/p>\n\u003cp>“I was waiting for the words \u003cem>Born This Way\u003c/em>,” Bell said \u003ca href=\"http://deadline.com/2017/09/united-shades-of-america-w-kamau-bell-creative-arts-emmys-1202165777/\" target=\"_blank\" rel=\"noopener\">after the ceremony\u003c/a>, referring to the show on A&E that won the year before.\u003c/p>\n\u003cp>But the Berkeley-based comedian happily accepted the award, a tangible symbol of how much he’s bounced back after his first TV show, the Chris Rock-produced \u003ci>Totally Biased with W. Kamau Bell,\u003c/i> was \u003ca href=\"http://www.salon.com/2013/11/15/w_kamau_bell_on_totally_biased_the_show_was_canceled_i%E2%80%99m_not_canceled/\" target=\"_blank\" rel=\"noopener\">canceled in 2013\u003c/a>. After the cancellation, Bell told KQED, he’d had the feeling his career was over.\u003c/p>\n\u003cp>“I wouldn’t be the first person to have a big opportunity, have that opportunity not work out and then disappear into the ether,” Bell said.\u003c/p>\n\u003cp>At the time, Bell had a daughter at home and another on the way, so he felt he couldn’t just give up on show business. He returned to stand-up comedy, but he also took a lot of meetings, mostly with news organizations who were looking to make their political coverage more entertaining. One of those meetings was at CNN.\u003c/p>\n\u003cfigure id=\"attachment_13808403\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-800x800.jpg\" alt=\"W. Kamau Bell with his Emmy\" width=\"800\" height=\"800\" class=\"size-medium wp-image-13808403\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">W. Kamau Bell with his Emmy. \u003ccite>(via Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>CNN initially pitched a travel show in the same vein as Anthony Bourdain’s \u003ci>Parts Unknown\u003c/i> or \u003ci>This Is Life With Lisa Ling,\u003c/i> but its focus would be on sending a black comedian to largely white areas in America. Bell liked the idea of a travel show, but shot down the “white area” premise.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It would’ve been, ‘Once again, Kamau goes to the country club! It just wouldn’t have had the same impact,” Bell said. \u003c/p>\n\u003cp>Kamau and the production company All3Media decided to use the show to explore \u003ca href=\"http://deadline.com/2015/03/kamau-bell-reza-aslan-cnn-kevin-spacey-1201389691/\" target=\"_blank\" rel=\"noopener\">the country’s subcultures\u003c/a>, and came up with the name \u003ci>United Shades of America.\u003c/i>\u003c/p>\n\u003cp>Yet the first place Bell and the team to decided to visit couldn’t have been more white: the home base of the Ku Klux Klan. The pilot episode, which seemed on its face to be a dangerous trip for its 6-foot-4-inch black host, was Bell’s idea.\u003c/p>\n\u003cp>“They couldn’t have talked me into it if it wasn’t my idea,” Bell said. \u003c/p>\n\u003cp>Bell said he’s always been interested in the KKK, and the episode shot for the show’s first season provided a revealing look at the current state of white supremacy almost a year before the riots in \u003ca href=\"http://www.aljazeera.com/news/2017/08/charlottesville-attack-170813081045115.html\" target=\"_blank\" rel=\"noopener\">Charlottesville\u003c/a>. Aired to great critical reception, it showed that white supremacists were quite organized in some areas of the south, and that cross-burnings were still a tradition in others.\u003c/p>\n\u003cp>“Since then, if I’m ever stopped in an airport, 80 percent of the time we’re talking about the KKK,” Bell said.\u003c/p>\n\u003cp>It became the show’s flagship episode, leading to the show’s first Emmy nomination, recognition which Bell cites as the reason for CNN’s decision to extend the show a second season. (\u003ci>United Shades\u003c/i> lost the Emmy to \u003ci>Born This Way\u003c/i> that year.)\u003c/p>\n\u003cp>Bell and his team kicked off the second season with a show that focused on immigration but also touched on white supremacy — it even featured an interview with \u003ca href=\"http://www.cnn.com/videos/tv/2017/04/19/united-shades-of-america-richard-spencer-ron-1.cnn/video/playlists/w-kamau-bell-united-shades/\" target=\"_blank\" rel=\"noopener\">white nationalist Richard Spencer\u003c/a>. But while that was the episode “everyone talked about,” according to Bell, this year CNN submitted an episode about Chicago’s persistent gang violence for Emmy consideration. For Bell, it was the highlight of \u003ci>United Shades’\u003c/i> second season because it not only portrayed the region’s problems but how hard the community was working to fix them. \u003c/p>\n\u003cp>“It showed a lot of men who are active members of gangs or had been in gangs, talking about why they knew that wasn’t the life they should be in, and they all had solutions to the problems,” Bell said. “If we solve Chicago’s problem, we solve the problems of all the urban environments in this country.” \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IlN6GRtcWMo\u003c/p>\n\u003cp>After the second season, the show was nominated for two Emmys — Outstanding Unstructured Reality Program and Outstanding Host for a Reality or Reality-Competition Program. The second nomination was a surprise for Bell. \u003c/p>\n\u003cp>“I was shocked by that, because I was up against Adam Baldwin, and RuPaul, and Heidi Klum and Tim Gunn, and Snoop Dogg and Martha Stewart. I can’t even get into that afterparty!” Bell said.\u003c/p>\n\u003cp>Bell lost the hosting Emmy to RuPaul (according to Bell, “RuPaul should win all the awards”) but the show itself won, which Bell said he appreciates for the honor it extends to the whole production team, some of whom have worked in TV for decades without Emmy recognition.\u003c/p>\n\u003cp>“If I had to choose between me winning my own award and the show winning, I’d chose the show every time,” Bell said. “It’s just more fun that way.”\u003c/p>\n\u003cp>Now back in Berkeley, Bell remains busy. Between hosting \u003ca href=\"http://www.wkamaubell.com/podcasts/\" target=\"_blank\" rel=\"noopener\">multiple podcasts\u003c/a> and performing standup \u003ca href=\"https://www.eventbrite.com/e/verdi-wild-things-are-standup-comedy-wfiorentini-muse-green-tickets-32992965849\" target=\"_blank\" rel=\"noopener\">Sept. 14 at the Verdi Club\u003c/a> in San Francisco, he’s currently working on a third season of \u003ci>United Shades of America\u003c/i>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When W. Kamau Bell and his show \u003ci>United Shades of America\u003c/i> won the Emmy Award for Outstanding Unstructured Reality Program last Saturday, many were surprised — but none more than Bell himself. \u003c/p>\n\u003cp>“I was waiting for the words \u003cem>Born This Way\u003c/em>,” Bell said \u003ca href=\"http://deadline.com/2017/09/united-shades-of-america-w-kamau-bell-creative-arts-emmys-1202165777/\" target=\"_blank\" rel=\"noopener\">after the ceremony\u003c/a>, referring to the show on A&E that won the year before.\u003c/p>\n\u003cp>But the Berkeley-based comedian happily accepted the award, a tangible symbol of how much he’s bounced back after his first TV show, the Chris Rock-produced \u003ci>Totally Biased with W. Kamau Bell,\u003c/i> was \u003ca href=\"http://www.salon.com/2013/11/15/w_kamau_bell_on_totally_biased_the_show_was_canceled_i%E2%80%99m_not_canceled/\" target=\"_blank\" rel=\"noopener\">canceled in 2013\u003c/a>. After the cancellation, Bell told KQED, he’d had the feeling his career was over.\u003c/p>\n\u003cp>“I wouldn’t be the first person to have a big opportunity, have that opportunity not work out and then disappear into the ether,” Bell said.\u003c/p>\n\u003cp>At the time, Bell had a daughter at home and another on the way, so he felt he couldn’t just give up on show business. He returned to stand-up comedy, but he also took a lot of meetings, mostly with news organizations who were looking to make their political coverage more entertaining. One of those meetings was at CNN.\u003c/p>\n\u003cfigure id=\"attachment_13808403\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-800x800.jpg\" alt=\"W. Kamau Bell with his Emmy\" width=\"800\" height=\"800\" class=\"size-medium wp-image-13808403\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/W.-Kamau-Bell-Emmy-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">W. Kamau Bell with his Emmy. \u003ccite>(via Facebook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>CNN initially pitched a travel show in the same vein as Anthony Bourdain’s \u003ci>Parts Unknown\u003c/i> or \u003ci>This Is Life With Lisa Ling,\u003c/i> but its focus would be on sending a black comedian to largely white areas in America. Bell liked the idea of a travel show, but shot down the “white area” premise.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It would’ve been, ‘Once again, Kamau goes to the country club! It just wouldn’t have had the same impact,” Bell said. \u003c/p>\n\u003cp>Kamau and the production company All3Media decided to use the show to explore \u003ca href=\"http://deadline.com/2015/03/kamau-bell-reza-aslan-cnn-kevin-spacey-1201389691/\" target=\"_blank\" rel=\"noopener\">the country’s subcultures\u003c/a>, and came up with the name \u003ci>United Shades of America.\u003c/i>\u003c/p>\n\u003cp>Yet the first place Bell and the team to decided to visit couldn’t have been more white: the home base of the Ku Klux Klan. The pilot episode, which seemed on its face to be a dangerous trip for its 6-foot-4-inch black host, was Bell’s idea.\u003c/p>\n\u003cp>“They couldn’t have talked me into it if it wasn’t my idea,” Bell said. \u003c/p>\n\u003cp>Bell said he’s always been interested in the KKK, and the episode shot for the show’s first season provided a revealing look at the current state of white supremacy almost a year before the riots in \u003ca href=\"http://www.aljazeera.com/news/2017/08/charlottesville-attack-170813081045115.html\" target=\"_blank\" rel=\"noopener\">Charlottesville\u003c/a>. Aired to great critical reception, it showed that white supremacists were quite organized in some areas of the south, and that cross-burnings were still a tradition in others.\u003c/p>\n\u003cp>“Since then, if I’m ever stopped in an airport, 80 percent of the time we’re talking about the KKK,” Bell said.\u003c/p>\n\u003cp>It became the show’s flagship episode, leading to the show’s first Emmy nomination, recognition which Bell cites as the reason for CNN’s decision to extend the show a second season. (\u003ci>United Shades\u003c/i> lost the Emmy to \u003ci>Born This Way\u003c/i> that year.)\u003c/p>\n\u003cp>Bell and his team kicked off the second season with a show that focused on immigration but also touched on white supremacy — it even featured an interview with \u003ca href=\"http://www.cnn.com/videos/tv/2017/04/19/united-shades-of-america-richard-spencer-ron-1.cnn/video/playlists/w-kamau-bell-united-shades/\" target=\"_blank\" rel=\"noopener\">white nationalist Richard Spencer\u003c/a>. But while that was the episode “everyone talked about,” according to Bell, this year CNN submitted an episode about Chicago’s persistent gang violence for Emmy consideration. For Bell, it was the highlight of \u003ci>United Shades’\u003c/i> second season because it not only portrayed the region’s problems but how hard the community was working to fix them. \u003c/p>\n\u003cp>“It showed a lot of men who are active members of gangs or had been in gangs, talking about why they knew that wasn’t the life they should be in, and they all had solutions to the problems,” Bell said. “If we solve Chicago’s problem, we solve the problems of all the urban environments in this country.” \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/IlN6GRtcWMo'\n title='//www.youtube.com/embed/IlN6GRtcWMo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After the second season, the show was nominated for two Emmys — Outstanding Unstructured Reality Program and Outstanding Host for a Reality or Reality-Competition Program. The second nomination was a surprise for Bell. \u003c/p>\n\u003cp>“I was shocked by that, because I was up against Adam Baldwin, and RuPaul, and Heidi Klum and Tim Gunn, and Snoop Dogg and Martha Stewart. I can’t even get into that afterparty!” Bell said.\u003c/p>\n\u003cp>Bell lost the hosting Emmy to RuPaul (according to Bell, “RuPaul should win all the awards”) but the show itself won, which Bell said he appreciates for the honor it extends to the whole production team, some of whom have worked in TV for decades without Emmy recognition.\u003c/p>\n\u003cp>“If I had to choose between me winning my own award and the show winning, I’d chose the show every time,” Bell said. “It’s just more fun that way.”\u003c/p>\n\u003cp>Now back in Berkeley, Bell remains busy. Between hosting \u003ca href=\"http://www.wkamaubell.com/podcasts/\" target=\"_blank\" rel=\"noopener\">multiple podcasts\u003c/a> and performing standup \u003ca href=\"https://www.eventbrite.com/e/verdi-wild-things-are-standup-comedy-wfiorentini-muse-green-tickets-32992965849\" target=\"_blank\" rel=\"noopener\">Sept. 14 at the Verdi Club\u003c/a> in San Francisco, he’s currently working on a third season of \u003ci>United Shades of America\u003c/i>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/news/series/baycurious",
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"source": "kqed",
"order": 3
},
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"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
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}
},
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"id": "bbc-world-service",
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"officialWebsiteLink": "/podcasts/closealltabs",
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"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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