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"content": "\u003cp>When Enriqueta Andazola’s four sons left Sacramento to fight in World War II, her trepidation about what they might face was outshined by a stronger emotion: pride. Andazola—like other mothers of the half million Mexican Americans who fought in the war—was immensely proud of her boys for serving their country. Despite spending years in the United States enduring rampant segregation, lower wages and poor housing conditions on the home front, her patriotism never wavered.\u003c/p>\n\u003cp>It’s widely acknowledged now that World War II was a watershed moment for America’s Mexican and Latin American communities. After years on active duty, returning soldiers started making demands for long-overdue civil rights and previously denied respect. It must have been heartening, then, for the veterans to find that some of the groundwork for this new battle had already been laid by the women they’d left at home. One of the most impactful of them was Enriqueta Andazola.\u003c/p>\n\u003cp>[aside postid='arts_13887962']Born in Chihuahua, Mexico in 1892, Andazola first came to Sacramento in 1917 to escape the chaos and violence of the Mexican Revolution. Although she had worked as a schoolteacher in Chihuahua, her first job in California was at the Sacramento Wool Company. Andazola subsequently spent 25 years of her life working at the Del Monte cannery.\u003c/p>\n\u003cp>Though locked out of her profession of choice, cannery work was the primary source of income for much of Sacramento’s Chicana community at the time. Andazola found a silver lining in the camaraderie and friendships she enjoyed through work. More from anything else, after her split from husband Ignacio Ramírez, the cannery gave her a steady income on which to raise their sons Joe (\u003cem>née\u003c/em> José), Edgardo, John and Paul.\u003c/p>\n\u003cfigure id=\"attachment_13894643\" class=\"wp-caption aligncenter\" style=\"max-width: 382px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13894643\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Enriqueta-Andazola.png\" alt=\"Enriqueta Andaloza surrounded by her sons, all World War II veterans. L-R: Joe Ramírez (kneeling), Edgardo Ramírez, John Ramírez, Abraham Salgado (her son-in-law) and Paul Ramírez.\" width=\"382\" height=\"440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Enriqueta-Andazola.png 382w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Enriqueta-Andazola-160x184.png 160w\" sizes=\"auto, (max-width: 382px) 100vw, 382px\">\u003cfigcaption class=\"wp-caption-text\">Enriqueta Andaloza surrounded by her sons, all World War II veterans. L-R: Joe Ramírez (kneeling), Edgardo Ramírez, John Ramírez, Abraham Salgado (her son-in-law) and Paul Ramírez. \u003ccite>(Sacramento Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though Andazola considered herself a proud American, it was never at the loss of her own cultural identity. As her granddaughter Diana Salgado Zuñiga would later note, “If there was anything she passed on to me, it was a true feeling of pride in being a Mexican. She assimilated into the society, but she kept her sense of culture.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As such, throughout her life, Andazola actively kept Mexican traditions alive in Sacramento. She was instrumental in organizing and promoting Cinco de Mayo and Mexican Independence Day celebrations, and she was active in establishing community groups for Mexican Americans throughout her lifetime. In 1936, that included a branch of Alianza Hispanoamericana—a community organization that educated, empowered and advocated for people of Mexican descent living in the United States.\u003c/p>\n\u003cp>For decades, though, Andazola’s primary focus was on establishing spaces by and for women. “Men had clubs,” she once noted. “I felt that women deserved [clubs] too.” So, in 1920, she founded Las Amigas Del Hogar (Friends of Homemakers), a women’s group specifically for Chicanas. Nineteen years later, she established the Union Femenil (the Feminine Union). And in 1942, most significantly of all, she co-founded Las Madres Mexicanas de Guerra (Mexican War Mothers), alongside her dear friend, Antima Perez.\u003c/p>\n\u003cfigure id=\"attachment_13894647\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894647\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Screen-Shot-2021-03-25-at-3.38.07-PM-800x450.png\" alt=\"Enriqueta Andazola's granddaughter Diana Salgado Zuñiga unfurls a vintage 'Mexican War Mothers' banner, during KVIE documentary, 'Valentia: Mexican-Americans in World War II.' \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-25-at-3.38.07-PM-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-25-at-3.38.07-PM-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-25-at-3.38.07-PM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-25-at-3.38.07-PM-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-25-at-3.38.07-PM-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-25-at-3.38.07-PM-2048x1152.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-25-at-3.38.07-PM-1920x1080.png 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Enriqueta Andazola’s granddaughter Diana Salgado Zuñiga unfurls a vintage ‘Mexican War Mothers’ banner, during KVIE documentary, ‘Valentia: Mexican-Americans in World War II.’ \u003ccite>(YouTube/ KVIE)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though all women of the era were expected to join in the war effort, Las Madres went above and beyond. They tended to wounded soldiers in local military hospitals. They launched letter-writing campaigns to the soldiers and sent care packages abroad. They held fundraising dinners and dances to raise money for the Veterans Affiliated Council. They regularly donated money to Yountville’s \u003ca href=\"https://www.calvet.ca.gov/VetHomes/pages/yountville.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">Veterans Home of California\u003c/a>—an organization that, at that time, took care of the widows and orphans of servicemen. They attended Sacramento’s monthly USO meetings to serve home-cooked Mexican food. They even assisted with the burial service of Mexican American soldiers who were killed in action.\u003c/p>\n\u003cp>[aside postid='pop_102633']Even after the war, the service of Las Madres Mexicanas de Guerra didn’t stop. And their love for both America and Mexico was present at every one of their general meetings, when they stood to recite the pledge of allegiance in Spanish. Soon after the war ended, the women began selling pan dulce, tamales and raffle tickets at the local Catholic Church to raise yet more funds—this time for a monument to honor all Mexican Americans who served America in World War I and World War II.\u003c/p>\n\u003cp>Once the women had raised $4,000, they commissioned a statue to be made in Italy. It was sculpted in the likeness of a soldier—specifically Andazola’s son, Joe—and named “El Soldado.” And in 1951, it was installed at El Centro Mexicano de Sacramento (the Sacramento Mexican Center)—an organization Andazola had co-founded in 1948 with Phil Zúñiga. The community center was a physical symbol of Mexican American pride and fellowship in California’s capital, and “El Soldado” represented the contributions of the community to American society.\u003c/p>\n\u003cfigure id=\"attachment_13894650\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894650\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Screen-Shot-2021-03-25-at-3.52.54-PM-800x844.png\" alt='Enriqueta Andazola poses with school children and the \"El Soldado\" statue, whose likeness is based on her son, Joe.' width=\"800\" height=\"844\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-25-at-3.52.54-PM-800x844.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-25-at-3.52.54-PM-160x169.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-25-at-3.52.54-PM-768x810.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-25-at-3.52.54-PM.png 940w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Enriqueta Andazola poses with school children and the “El Soldado” statue, whose likeness is based on her son, Joe. \u003ccite>(Center for Sacramento History)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13899893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899893\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Soldado-Final-800x743.jpg\" alt=\"(L) El Soldado as it looks today (R) Standing guard over the State Capitol, June 2021.\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Soldado-Final-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Soldado-Final-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Soldado-Final-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Soldado-Final-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Soldado-Final-1536x1426.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Soldado-Final-2048x1901.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Soldado-Final-1920x1782.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L) El Soldado as it looks today (R) Standing guard over the State Capitol, June 2021. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the years since the Sacramento Mexican Center closed its doors in 1975, “El Soldado” has stood guard over the State Capitol building. The statue was \u003ca href=\"https://www.sacbee.com/news/politics-government/capitol-alert/article178179646.html\" target=\"_blank\" rel=\"noopener noreferrer\">rededicated in 2017\u003c/a>, having undergone major repairs and renovations. It was also given a new plaza and a more elaborate pedestal, listing scores of Mexican American Medal of Honor recipients. Every year, it is the site for California Mexican American Veterans Day ceremonies.\u003c/p>\n\u003cp>To this day, “El Soldado” is the only memorial that specifically recognizes the service of Mexican American soldiers. But it also stands as a reminder for all that Andazola did for her community.\u003c/p>\n\u003cp>The reverence and respect for Enriqueta Andazola, by those who remember, remains strong. After her death in 1980, one eulogy at her funeral summarized the feelings of many friends and family in her life: “La pionera de nuestra colonia Mexicana.”\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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>A book celebrating women from the Rebel Girls series, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">‘Unsung Heroines: 35 Women Who Changed the Bay Area,’\u003c/a> is available now from City Lights.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Enriqueta Andazola was a community leader who helped hundreds of soldiers during the war, and honored many more after it. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Enriqueta Andazola’s four sons left Sacramento to fight in World War II, her trepidation about what they might face was outshined by a stronger emotion: pride. Andazola—like other mothers of the half million Mexican Americans who fought in the war—was immensely proud of her boys for serving their country. Despite spending years in the United States enduring rampant segregation, lower wages and poor housing conditions on the home front, her patriotism never wavered.\u003c/p>\n\u003cp>It’s widely acknowledged now that World War II was a watershed moment for America’s Mexican and Latin American communities. After years on active duty, returning soldiers started making demands for long-overdue civil rights and previously denied respect. It must have been heartening, then, for the veterans to find that some of the groundwork for this new battle had already been laid by the women they’d left at home. One of the most impactful of them was Enriqueta Andazola.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Born in Chihuahua, Mexico in 1892, Andazola first came to Sacramento in 1917 to escape the chaos and violence of the Mexican Revolution. Although she had worked as a schoolteacher in Chihuahua, her first job in California was at the Sacramento Wool Company. Andazola subsequently spent 25 years of her life working at the Del Monte cannery.\u003c/p>\n\u003cp>Though locked out of her profession of choice, cannery work was the primary source of income for much of Sacramento’s Chicana community at the time. Andazola found a silver lining in the camaraderie and friendships she enjoyed through work. More from anything else, after her split from husband Ignacio Ramírez, the cannery gave her a steady income on which to raise their sons Joe (\u003cem>née\u003c/em> José), Edgardo, John and Paul.\u003c/p>\n\u003cfigure id=\"attachment_13894643\" class=\"wp-caption aligncenter\" style=\"max-width: 382px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13894643\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Enriqueta-Andazola.png\" alt=\"Enriqueta Andaloza surrounded by her sons, all World War II veterans. L-R: Joe Ramírez (kneeling), Edgardo Ramírez, John Ramírez, Abraham Salgado (her son-in-law) and Paul Ramírez.\" width=\"382\" height=\"440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Enriqueta-Andazola.png 382w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Enriqueta-Andazola-160x184.png 160w\" sizes=\"auto, (max-width: 382px) 100vw, 382px\">\u003cfigcaption class=\"wp-caption-text\">Enriqueta Andaloza surrounded by her sons, all World War II veterans. L-R: Joe Ramírez (kneeling), Edgardo Ramírez, John Ramírez, Abraham Salgado (her son-in-law) and Paul Ramírez. \u003ccite>(Sacramento Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though Andazola considered herself a proud American, it was never at the loss of her own cultural identity. As her granddaughter Diana Salgado Zuñiga would later note, “If there was anything she passed on to me, it was a true feeling of pride in being a Mexican. She assimilated into the society, but she kept her sense of culture.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As such, throughout her life, Andazola actively kept Mexican traditions alive in Sacramento. She was instrumental in organizing and promoting Cinco de Mayo and Mexican Independence Day celebrations, and she was active in establishing community groups for Mexican Americans throughout her lifetime. In 1936, that included a branch of Alianza Hispanoamericana—a community organization that educated, empowered and advocated for people of Mexican descent living in the United States.\u003c/p>\n\u003cp>For decades, though, Andazola’s primary focus was on establishing spaces by and for women. “Men had clubs,” she once noted. “I felt that women deserved [clubs] too.” So, in 1920, she founded Las Amigas Del Hogar (Friends of Homemakers), a women’s group specifically for Chicanas. Nineteen years later, she established the Union Femenil (the Feminine Union). And in 1942, most significantly of all, she co-founded Las Madres Mexicanas de Guerra (Mexican War Mothers), alongside her dear friend, Antima Perez.\u003c/p>\n\u003cfigure id=\"attachment_13894647\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894647\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Screen-Shot-2021-03-25-at-3.38.07-PM-800x450.png\" alt=\"Enriqueta Andazola's granddaughter Diana Salgado Zuñiga unfurls a vintage 'Mexican War Mothers' banner, during KVIE documentary, 'Valentia: Mexican-Americans in World War II.' \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-25-at-3.38.07-PM-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-25-at-3.38.07-PM-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-25-at-3.38.07-PM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-25-at-3.38.07-PM-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-25-at-3.38.07-PM-1536x864.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-25-at-3.38.07-PM-2048x1152.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-25-at-3.38.07-PM-1920x1080.png 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Enriqueta Andazola’s granddaughter Diana Salgado Zuñiga unfurls a vintage ‘Mexican War Mothers’ banner, during KVIE documentary, ‘Valentia: Mexican-Americans in World War II.’ \u003ccite>(YouTube/ KVIE)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though all women of the era were expected to join in the war effort, Las Madres went above and beyond. They tended to wounded soldiers in local military hospitals. They launched letter-writing campaigns to the soldiers and sent care packages abroad. They held fundraising dinners and dances to raise money for the Veterans Affiliated Council. They regularly donated money to Yountville’s \u003ca href=\"https://www.calvet.ca.gov/VetHomes/pages/yountville.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">Veterans Home of California\u003c/a>—an organization that, at that time, took care of the widows and orphans of servicemen. They attended Sacramento’s monthly USO meetings to serve home-cooked Mexican food. They even assisted with the burial service of Mexican American soldiers who were killed in action.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Even after the war, the service of Las Madres Mexicanas de Guerra didn’t stop. And their love for both America and Mexico was present at every one of their general meetings, when they stood to recite the pledge of allegiance in Spanish. Soon after the war ended, the women began selling pan dulce, tamales and raffle tickets at the local Catholic Church to raise yet more funds—this time for a monument to honor all Mexican Americans who served America in World War I and World War II.\u003c/p>\n\u003cp>Once the women had raised $4,000, they commissioned a statue to be made in Italy. It was sculpted in the likeness of a soldier—specifically Andazola’s son, Joe—and named “El Soldado.” And in 1951, it was installed at El Centro Mexicano de Sacramento (the Sacramento Mexican Center)—an organization Andazola had co-founded in 1948 with Phil Zúñiga. The community center was a physical symbol of Mexican American pride and fellowship in California’s capital, and “El Soldado” represented the contributions of the community to American society.\u003c/p>\n\u003cfigure id=\"attachment_13894650\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894650\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Screen-Shot-2021-03-25-at-3.52.54-PM-800x844.png\" alt='Enriqueta Andazola poses with school children and the \"El Soldado\" statue, whose likeness is based on her son, Joe.' width=\"800\" height=\"844\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-25-at-3.52.54-PM-800x844.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-25-at-3.52.54-PM-160x169.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-25-at-3.52.54-PM-768x810.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-25-at-3.52.54-PM.png 940w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Enriqueta Andazola poses with school children and the “El Soldado” statue, whose likeness is based on her son, Joe. \u003ccite>(Center for Sacramento History)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13899893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13899893\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Soldado-Final-800x743.jpg\" alt=\"(L) El Soldado as it looks today (R) Standing guard over the State Capitol, June 2021.\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Soldado-Final-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Soldado-Final-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Soldado-Final-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Soldado-Final-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Soldado-Final-1536x1426.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Soldado-Final-2048x1901.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Soldado-Final-1920x1782.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L) El Soldado as it looks today (R) Standing guard over the State Capitol, June 2021. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the years since the Sacramento Mexican Center closed its doors in 1975, “El Soldado” has stood guard over the State Capitol building. The statue was \u003ca href=\"https://www.sacbee.com/news/politics-government/capitol-alert/article178179646.html\" target=\"_blank\" rel=\"noopener noreferrer\">rededicated in 2017\u003c/a>, having undergone major repairs and renovations. It was also given a new plaza and a more elaborate pedestal, listing scores of Mexican American Medal of Honor recipients. Every year, it is the site for California Mexican American Veterans Day ceremonies.\u003c/p>\n\u003cp>To this day, “El Soldado” is the only memorial that specifically recognizes the service of Mexican American soldiers. But it also stands as a reminder for all that Andazola did for her community.\u003c/p>\n\u003cp>The reverence and respect for Enriqueta Andazola, by those who remember, remains strong. After her death in 1980, one eulogy at her funeral summarized the feelings of many friends and family in her life: “La pionera de nuestra colonia Mexicana.”\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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>To learn about other Rebel Girls from Bay Area History, visit the \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">Rebel Girls homepage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>A book celebrating women from the Rebel Girls series, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">‘Unsung Heroines: 35 Women Who Changed the Bay Area,’\u003c/a> is available now from City Lights.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Tom Hanks’ screen persona is …\u003c/p>\n\u003cp>One is tempted to reach for the word \u003cem>avuncular \u003c/em>here, but that doesn’t quite pin it down. He’s not America’s Uncle, after all, he’s America’s Dad. But \u003cem>paternal \u003c/em>doesn’t get you there, either, as that word has taken on an oppressive, exclusionary patina, which are two qualities that couldn’t stick to Hanks in a million years, onscreen or off. The guy’s a dependably empathetic, inviting presence, even when he’s playing someone as inscrutable as Fred Rogers (\u003cem>A Beautiful Day in the Neighborhood\u003c/em>) or as gruff-but-lovable as Jimmy Dugan (\u003cem>A League of Their Own\u003c/em>).\u003c/p>\n\u003cp>\u003cem>Affable\u003c/em>, then. Let’s go with that.\u003c/p>\n\u003cp>On those rare occasions Hanks has attempted to run from his inherent, bone-deep likability to instead play heels, in films like \u003cem>The Ladykillers\u003c/em>, \u003cem>Charlie Wilson’s War\u003c/em> and, infamously, \u003cem>The Bonfire of the Vanities\u003c/em>, audiences recoil. It’s the Jimmy Stewart Phenomenon at work. “But you’re so affable!” we collectively insist. “We love your ability to aff! So shut up and get back to affing, already!”\u003c/p>\n\u003cp>Of course, Alfred Hitchcock found a way to twist that phenomenon to his own twisted needs; he knew he could cast Jimmy Stewart as a Peeping Tom or a creep obsessed with a dead woman and audiences would blithely accept it, because it was Jimmy Stewart. Jimmy Freaking “I’ll lasso the moon for ya” Stewart.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Having not yet found his Hitchcock, Hanks has settled into a series of roles that draft on his uncanny ability to get us to deeply identify with whomever he’s playing. But in the taut World War II film \u003cem>Greyhound\u003c/em>, dropping Friday on Apple TV+, Hanks seems to have arrived at a troubling but inevitable epiphany: He no longer has to bother creating a layered character, he can just … be \u003cem>him\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-pNgAZVrf40\u003c/p>\n\u003cp>In \u003cem>Greyhound\u003c/em>, which Hanks adapted from the 1955 novel \u003cem>The Good Shepherd\u003c/em> by C. S. Forester, he plays Ernie Krause, captain of a U.S. warship leading a convoy of merchant and troop ships through a North Atlantic infested by German U-boats in February 1942. In the book, Krause possesses a rich, deeply conflicted inner life: He was a career officer about to retire when the Pearl Harbor attack officially propelled the U.S. into World War II, so he’s at once significantly older, and far less battle-tested (this being his first wartime command) than the men he’s tasked to lead. Between U-boat attacks, he broods over his failed marriage, his devout Christian faith, his previous career disappointments, and a profound case of Imposter Syndrome as he constantly second-guesses his decisions.\u003c/p>\n\u003cp>In the film, however, Krause’s backstory and personal struggles have been loaded into a torpedo tube and fired into the murky depths of Davy Jones’ Locker. This Krause is still a Christian (read: he prays a few times), and he’s not married (read: Elisabeth Shue shows up in a flashback to smile ruefully at him and deliver all of six lines). Otherwise, he’s … Tom Hanks.\u003c/p>\n\u003cp>Which, it turns out, in a film as lean (88 minutes!) and efficiently executed as this one, is enough. \u003cem>Greyhound \u003c/em>director Aaron Schneider knows what he’s doing, and he starts doing it right away, packing the film with naval action from the jump. As soon as the convoy moves out of range of U.S. air cover and begins to cross “The Black Pit”—that yawning stretch in the middle of the Atlantic when the convoy will be on its own—the sonar operator detects a U-boat. More follow. Tension rises, released in intermittent bursts by small victories and dismaying losses.\u003c/p>\n\u003cp>The film’s several battle sequences are clearly and effectively staged: They reek of CGI, but the technology is used well, as when we zoom out in virtual drone shots that show us the action from far above—so we can see just how nearly a near-miss misses as we watch a ship slooooowly steering itself out of a torpedo’s path in the nick of time. We soon come to recognize and distinguish the various U-boats descending on the convoy, as they’ve each got different symbols painted on their conning towers.\u003c/p>\n\u003cp>In that sense, the U-boats register as stronger and more distinct personalities than any Greyhound crew member manages to, as the men that surround Hanks’ Krause are called upon to do little more than look worried, sad or happy as Hanks’ script dictates. No, this is Hanks’ show, and he seems completely in his element awash in sea-spray, peering through binoculars while shouting torrents of naval jargon. (A word about said jargon: \u003cem>Greyhound \u003c/em>is the kind of movie in which there’s always a sailor on hand to translate for an audience of landlubbers by helpfully shouting in astonishment that something will soon happen, is happening, or has just happened—often all three, just to be safe.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It doesn’t much matter that Krause and the men who serve him might as well be CGI simulations like the boats around them. Like a sailing vessel, \u003cem>Greyhound \u003c/em>benefits from the sleekness of its design and its characters’ lack of baggage, both literal and emotional. As befits his status as America’s Dad, Hanks has constructed for us the ultimate Dad Movie—all the action you could ever need or want, with no annoying characters hanging around, harboring pesky needs and wants of their own.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=World+War+II+Naval+Drama+%27Greyhound%27+Charts+A+Trim%2C+Efficient+Course&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tom Hanks’ screen persona is …\u003c/p>\n\u003cp>One is tempted to reach for the word \u003cem>avuncular \u003c/em>here, but that doesn’t quite pin it down. He’s not America’s Uncle, after all, he’s America’s Dad. But \u003cem>paternal \u003c/em>doesn’t get you there, either, as that word has taken on an oppressive, exclusionary patina, which are two qualities that couldn’t stick to Hanks in a million years, onscreen or off. The guy’s a dependably empathetic, inviting presence, even when he’s playing someone as inscrutable as Fred Rogers (\u003cem>A Beautiful Day in the Neighborhood\u003c/em>) or as gruff-but-lovable as Jimmy Dugan (\u003cem>A League of Their Own\u003c/em>).\u003c/p>\n\u003cp>\u003cem>Affable\u003c/em>, then. Let’s go with that.\u003c/p>\n\u003cp>On those rare occasions Hanks has attempted to run from his inherent, bone-deep likability to instead play heels, in films like \u003cem>The Ladykillers\u003c/em>, \u003cem>Charlie Wilson’s War\u003c/em> and, infamously, \u003cem>The Bonfire of the Vanities\u003c/em>, audiences recoil. It’s the Jimmy Stewart Phenomenon at work. “But you’re so affable!” we collectively insist. “We love your ability to aff! So shut up and get back to affing, already!”\u003c/p>\n\u003cp>Of course, Alfred Hitchcock found a way to twist that phenomenon to his own twisted needs; he knew he could cast Jimmy Stewart as a Peeping Tom or a creep obsessed with a dead woman and audiences would blithely accept it, because it was Jimmy Stewart. Jimmy Freaking “I’ll lasso the moon for ya” Stewart.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Having not yet found his Hitchcock, Hanks has settled into a series of roles that draft on his uncanny ability to get us to deeply identify with whomever he’s playing. But in the taut World War II film \u003cem>Greyhound\u003c/em>, dropping Friday on Apple TV+, Hanks seems to have arrived at a troubling but inevitable epiphany: He no longer has to bother creating a layered character, he can just … be \u003cem>him\u003c/em>.\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/-pNgAZVrf40'\n title='//www.youtube.com/embed/-pNgAZVrf40'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In \u003cem>Greyhound\u003c/em>, which Hanks adapted from the 1955 novel \u003cem>The Good Shepherd\u003c/em> by C. S. Forester, he plays Ernie Krause, captain of a U.S. warship leading a convoy of merchant and troop ships through a North Atlantic infested by German U-boats in February 1942. In the book, Krause possesses a rich, deeply conflicted inner life: He was a career officer about to retire when the Pearl Harbor attack officially propelled the U.S. into World War II, so he’s at once significantly older, and far less battle-tested (this being his first wartime command) than the men he’s tasked to lead. Between U-boat attacks, he broods over his failed marriage, his devout Christian faith, his previous career disappointments, and a profound case of Imposter Syndrome as he constantly second-guesses his decisions.\u003c/p>\n\u003cp>In the film, however, Krause’s backstory and personal struggles have been loaded into a torpedo tube and fired into the murky depths of Davy Jones’ Locker. This Krause is still a Christian (read: he prays a few times), and he’s not married (read: Elisabeth Shue shows up in a flashback to smile ruefully at him and deliver all of six lines). Otherwise, he’s … Tom Hanks.\u003c/p>\n\u003cp>Which, it turns out, in a film as lean (88 minutes!) and efficiently executed as this one, is enough. \u003cem>Greyhound \u003c/em>director Aaron Schneider knows what he’s doing, and he starts doing it right away, packing the film with naval action from the jump. As soon as the convoy moves out of range of U.S. air cover and begins to cross “The Black Pit”—that yawning stretch in the middle of the Atlantic when the convoy will be on its own—the sonar operator detects a U-boat. More follow. Tension rises, released in intermittent bursts by small victories and dismaying losses.\u003c/p>\n\u003cp>The film’s several battle sequences are clearly and effectively staged: They reek of CGI, but the technology is used well, as when we zoom out in virtual drone shots that show us the action from far above—so we can see just how nearly a near-miss misses as we watch a ship slooooowly steering itself out of a torpedo’s path in the nick of time. We soon come to recognize and distinguish the various U-boats descending on the convoy, as they’ve each got different symbols painted on their conning towers.\u003c/p>\n\u003cp>In that sense, the U-boats register as stronger and more distinct personalities than any Greyhound crew member manages to, as the men that surround Hanks’ Krause are called upon to do little more than look worried, sad or happy as Hanks’ script dictates. No, this is Hanks’ show, and he seems completely in his element awash in sea-spray, peering through binoculars while shouting torrents of naval jargon. (A word about said jargon: \u003cem>Greyhound \u003c/em>is the kind of movie in which there’s always a sailor on hand to translate for an audience of landlubbers by helpfully shouting in astonishment that something will soon happen, is happening, or has just happened—often all three, just to be safe.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It doesn’t much matter that Krause and the men who serve him might as well be CGI simulations like the boats around them. Like a sailing vessel, \u003cem>Greyhound \u003c/em>benefits from the sleekness of its design and its characters’ lack of baggage, both literal and emotional. As befits his status as America’s Dad, Hanks has constructed for us the ultimate Dad Movie—all the action you could ever need or want, with no annoying characters hanging around, harboring pesky needs and wants of their own.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=World+War+II+Naval+Drama+%27Greyhound%27+Charts+A+Trim%2C+Efficient+Course&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A love story between a black Army nurse and a white German POW during World War II? You couldn’t make that story up — and Alexis Clark didn’t. The former editor at \u003cem>Town & Country\u003c/em> is an adjunct professor at Columbia University’s School of Journalism. I spoke with her about her new book, \u003cem>Enemies in Love\u003c/em>, and what she learned about hidden Army history and the human heart.\u003c/p>\n\u003cp>Below is an edited version of our conversation.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>\u003cem>What was the inspiration for this book, what got you rolling?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I was really interested in the military after I found out that I was a distant relative of Colonel Charles Young. He was the highest ranking African-American in the army until his death in 1922. So I just started delving into African-Americans who served in the military. And I discovered a book called \u003ca href=\"https://www.amazon.com/G-I-Nightingales-Nurse-Corps-World/dp/0813190797\">G.I. Nightingales\u003c/a>, and it was about World War II nurses. There was a very brief chapter about black women who served in the Army Nurse Corps.\u003c/p>\n\u003cp>That’s when I first learned about Elinor Powell, and a little sentence that said she met and later married a German prisoner of war in Arizona. I was like, “Wait a minute. I need to unpack this.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Who was Elinor Powell, and where did she come from?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Elinor Elizabeth Powell was from a prominent African-American family from Milton, Mass — a progressive suburb outside of Boston. Her family was one of the few black families to settle there. Her father had served in the Great War. So basically, when she joined the Army, she was going in her father’s footsteps serving her country. There weren’t really any stories of egregious racism in Milton — Elinor was largely shielded from that. She had white friends, and went to white schools, and had a great childhood. So she thought she was doing her patriotic duty enlisting to serve in the war\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>What happened when she was assigned to an intake base in Arizona?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>That was at Fort Huachuca, about an hour and a half outside Tucson. And it was her first encounter with Jim Crow. The military at the time was entirely segregated, and Arizona functioned under Jim Crow. So this was her first experience seeing “Whites Only” and “Colored” signs. It was this great irony — she is serving her country, fighting a war against fascism and racism — and here she was on the receiving end by her own country! She realized that she couldn’t even get served at certain restaurants; she would be wearing her military uniform and they wouldn’t serve her. Or in some instances, they would tell her, “Well, we’ll bring you the food around back…”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>She must have been outraged. Did other black soldiers feel the same way?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>When I was doing my research, I would read various letters that black soldiers wrote to the NAACP, complaining that here they are serving their military and they’re in train stations and they see German POWs use the dining rooms with American guards. But \u003cem>they\u003c/em> didn’t have access. And that was also a shock to the Germans, because in most of their cases, they hadn’t traveled to the United States and they did not encounter African-Americans at home.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>So how did Elinor and her future husband, Frederick Albert, meet?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>They met at a prisoner of war camp in Florence, Arizona. The closest city was Phoenix, which is about an hour and a half away. Frederick was a great cook and a baker, and so his assignment was to work in the mess hall. So when the nurses entered for their meal, he spotted Eleanor and he said it was like he was under a spell. He walked right up to her and said, “You should know my name. I’m the man who’s going to marry you.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Whoa! Just like that?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Yes! And he wasn’t the only one — she felt it, too. The attraction became stronger and stronger. Eventually they had a relationship. Then the war ended, and it was obvious Frederick was going to be shipped back to Europe at some point; he couldn’t stay at Camp Florence forever\u003cem>.\u003c/em> But Frederick and Elinor had a plan. They decided that they should conceive a child, because that was going to be the easiest and quickest way for Frederick to be able to return to the United States, because he would have to support a child. And that’s exactly what happened. So before he was deported, they conceived a child. And then he returned to Germany, and she returned home to Milton, pregnant and unmarried\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>I’m sure that was hugely popular with her family!\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Well, her father had died a few years before that, but her mother was very proper and she was not happy at all! She thought Elinor was being conned — that Frederick just wanted sex or a green card. But eventually he got permission to return, and they planned a small wedding.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Was that the beginning of their Happily Ever After?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Not exactly. When Frederick moved to the United States to marry Elinor and then start a family together, they struggled. They moved to Boston. They tried to find apartments, find work. As a mixed couple, no one wanted to live next to them; it was hard to get a lease. It was hard for him to find employment because he was German. (Remember, this was right after the war.) And Elinor knew that he was from a wealthy family, and she feared that he would regret his decision.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>So at some point, the whole family went to Germany, because they thought that would be easier?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Yes. Frederick’s father had done well after the war, and Frederick was positioned to take over his father’s engineering firm. And that’s what they did\u003cem>. \u003c/em>But it was not easy on Elinor.People were pointing, taunting her when she was walking down the street. She remembers that a man dropped his groceries when he saw her and the fruit just rolled down the lane. He couldn’t believe it! She said she felt like an animal in a zoo.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>How did she fare with his family? After all, she was black and American, and this was a country where a lot of people believed in Hitler’s Master Race theory….\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>His mother was very unkind. She didn’t speak fluent English, and she showed her displeasure by screaming at Elinor in German often. Frederick would watch his mother berate his wife, but he didn’t do anything\u003cem>.\u003c/em> He was not an aggressive man. He knew Elinor was very unhappy; they realized Germany wasn’t going to work. So they returned to the United States.\u003c/p>\n\u003cp>They started off in Morton, a suburb of Philadelphia. And they couldn’t enroll their son in the school that’s in their neighborhood \u003cem>— \u003c/em>the principal suggested the colored school nearby. So Eleanor pitched a fit and approached the NAACP. At the time, she had to go ahead and put her son in school. But I did see a newspaper clip, and eventually they desegregated the school that they wanted her son to originally attend.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Did the family stay in Morton?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>The family moved a lot, trying to find a place that would accept them. Finally they find a community called Village Creek, in South Norwalk, Conn. Frederick got a job at Pepperidge Farms, the baking company. And it literally was a neighborhood that said it’s a prejudice-free zone. So mixed couples, Jewish couples, artists, gays, you name it — they were welcome there.\u003c/p>\n\u003cp>And that’s where they settled\u003cem>. \u003c/em>The only thing that was difficult is that Eleanor and Frederick really didn’t bring up race with their children. So the boys had identity problems. Their older child had to undergo a lot of hardship because of their decision to be together, despite the fact that society was against them\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>What did you learn from researching and writing this book?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I learned that black women served this country during World War II. And I learned about their struggles to be even \u003cem>admitted\u003c/em> into the Army Nurse Corps. With that came a strict quota, even though there were nursing shortages. Even though President Roosevelt threatened to \u003cem>draft\u003c/em> nurses in January 1944 and 1945, the Army rejected thousands of qualified black nurses! They wanted to enlist and they weren’t able to. That was another piece that I found illuminating about the role that blacks have played in the military. And then you have this ‘Love Conquers All’ story between Elinor and Frederick — twenty years before \u003cem>Loving v. Virginia\u003c/em> was decided by the Supreme Court.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+Happens+When+Two+Enemies+Fall+In+Love%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A love story between a black Army nurse and a white German POW during World War II? You couldn’t make that story up — and Alexis Clark didn’t. The former editor at \u003cem>Town & Country\u003c/em> is an adjunct professor at Columbia University’s School of Journalism. I spoke with her about her new book, \u003cem>Enemies in Love\u003c/em>, and what she learned about hidden Army history and the human heart.\u003c/p>\n\u003cp>Below is an edited version of our conversation.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>\u003cem>What was the inspiration for this book, what got you rolling?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I was really interested in the military after I found out that I was a distant relative of Colonel Charles Young. He was the highest ranking African-American in the army until his death in 1922. So I just started delving into African-Americans who served in the military. And I discovered a book called \u003ca href=\"https://www.amazon.com/G-I-Nightingales-Nurse-Corps-World/dp/0813190797\">G.I. Nightingales\u003c/a>, and it was about World War II nurses. There was a very brief chapter about black women who served in the Army Nurse Corps.\u003c/p>\n\u003cp>That’s when I first learned about Elinor Powell, and a little sentence that said she met and later married a German prisoner of war in Arizona. I was like, “Wait a minute. I need to unpack this.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Who was Elinor Powell, and where did she come from?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Elinor Elizabeth Powell was from a prominent African-American family from Milton, Mass — a progressive suburb outside of Boston. Her family was one of the few black families to settle there. Her father had served in the Great War. So basically, when she joined the Army, she was going in her father’s footsteps serving her country. There weren’t really any stories of egregious racism in Milton — Elinor was largely shielded from that. She had white friends, and went to white schools, and had a great childhood. So she thought she was doing her patriotic duty enlisting to serve in the war\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>What happened when she was assigned to an intake base in Arizona?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>That was at Fort Huachuca, about an hour and a half outside Tucson. And it was her first encounter with Jim Crow. The military at the time was entirely segregated, and Arizona functioned under Jim Crow. So this was her first experience seeing “Whites Only” and “Colored” signs. It was this great irony — she is serving her country, fighting a war against fascism and racism — and here she was on the receiving end by her own country! She realized that she couldn’t even get served at certain restaurants; she would be wearing her military uniform and they wouldn’t serve her. Or in some instances, they would tell her, “Well, we’ll bring you the food around back…”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>She must have been outraged. Did other black soldiers feel the same way?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>When I was doing my research, I would read various letters that black soldiers wrote to the NAACP, complaining that here they are serving their military and they’re in train stations and they see German POWs use the dining rooms with American guards. But \u003cem>they\u003c/em> didn’t have access. And that was also a shock to the Germans, because in most of their cases, they hadn’t traveled to the United States and they did not encounter African-Americans at home.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>So how did Elinor and her future husband, Frederick Albert, meet?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>They met at a prisoner of war camp in Florence, Arizona. The closest city was Phoenix, which is about an hour and a half away. Frederick was a great cook and a baker, and so his assignment was to work in the mess hall. So when the nurses entered for their meal, he spotted Eleanor and he said it was like he was under a spell. He walked right up to her and said, “You should know my name. I’m the man who’s going to marry you.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Whoa! Just like that?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Yes! And he wasn’t the only one — she felt it, too. The attraction became stronger and stronger. Eventually they had a relationship. Then the war ended, and it was obvious Frederick was going to be shipped back to Europe at some point; he couldn’t stay at Camp Florence forever\u003cem>.\u003c/em> But Frederick and Elinor had a plan. They decided that they should conceive a child, because that was going to be the easiest and quickest way for Frederick to be able to return to the United States, because he would have to support a child. And that’s exactly what happened. So before he was deported, they conceived a child. And then he returned to Germany, and she returned home to Milton, pregnant and unmarried\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>I’m sure that was hugely popular with her family!\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Well, her father had died a few years before that, but her mother was very proper and she was not happy at all! She thought Elinor was being conned — that Frederick just wanted sex or a green card. But eventually he got permission to return, and they planned a small wedding.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Was that the beginning of their Happily Ever After?\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Not exactly. When Frederick moved to the United States to marry Elinor and then start a family together, they struggled. They moved to Boston. They tried to find apartments, find work. As a mixed couple, no one wanted to live next to them; it was hard to get a lease. It was hard for him to find employment because he was German. 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After all, she was black and American, and this was a country where a lot of people believed in Hitler’s Master Race theory….\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>His mother was very unkind. She didn’t speak fluent English, and she showed her displeasure by screaming at Elinor in German often. Frederick would watch his mother berate his wife, but he didn’t do anything\u003cem>.\u003c/em> He was not an aggressive man. He knew Elinor was very unhappy; they realized Germany wasn’t going to work. So they returned to the United States.\u003c/p>\n\u003cp>They started off in Morton, a suburb of Philadelphia. And they couldn’t enroll their son in the school that’s in their neighborhood \u003cem>— \u003c/em>the principal suggested the colored school nearby. So Eleanor pitched a fit and approached the NAACP. At the time, she had to go ahead and put her son in school. 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"content": "\u003cp>\u003ca href=\"https://www.musicofremembrance.org/concert/san-francisco-concert-voices-witness\" target=\"_blank\" rel=\"noopener\">Music of Remembrance\u003c/a> mostly focuses on remembering the Holocaust through musical events, commissions, recordings and educational workshops. But the Seattle-based performing arts organization sometimes looks beyond atrocities committed against Jews during World War II.\u003c/p>\n\u003cp>The May 24 “Voices of Witness” concert at the \u003ca href=\"https://sfcm.edu/\" target=\"_blank\" rel=\"noopener\">San Francisco Conservatory of Music\u003c/a> includes a pair of new works by composers Ryuichi Sakamoto and Christophe Chagnard reflecting on the imprisonment of Japanese Americans in the United States during World War II.\u003c/p>\n\u003cfigure id=\"attachment_13833167\" class=\"wp-caption alignright\" style=\"max-width: 477px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13833167\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/cover_2017-18-2-e1527028170990.jpg\" alt='Publicity art for \"Voices of Witness\", a concert of new works honoring victims of the Japanese prison camps during the World War II at the San Francisco Conservatory of Music.' width=\"477\" height=\"268\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/cover_2017-18-2-e1527028170990.jpg 477w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/cover_2017-18-2-e1527028170990-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/cover_2017-18-2-e1527028170990-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/cover_2017-18-2-e1527028170990-375x211.jpg 375w\" sizes=\"(max-width: 477px) 100vw, 477px\">\u003cfigcaption class=\"wp-caption-text\">Publicity art for “Voices of Witness”, a concert of new works honoring victims of the Japanese prison camps during the World War II at the San Francisco Conservatory of Music. \u003ccite>(Courtesy of Voices of Remembrance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Based on a famous poem by the 20th-century Japanese poet Kiyoko Nagase, Sakamoto’s \u003cem>Snow Falls \u003c/em>employs melodies from the composer’s score for the movie \u003cem>Nagasaki: Memories of My Son\u003c/em>.\u003c/p>\n\u003cp>Chagnard uses traditional Japanese and classical Western instruments in his multimedia piece \u003cem>Gaman, \u003c/em> which explores the words and images of artists and writers held captive at the Minidoka camp in Idaho.\u003c/p>\n\u003cp>The program, which features two additional works about the Holocaust, will be performed by a chamber ensemble comprised of Seattle Symphony players; vocalists Erich Parce, Roslyn Barak and Ann Moss; and taiko drummers Ringtaro and Asako Tateishi.\u003c/p>\n\u003cp>[ad fullwidth]\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\u003cp>\u003cem>Music of Remembrance presents “Voices of Witness” at the San Francisco Conservatory of Music on Thursday, May 24. Details \u003ca href=\"https://www.musicofremembrance.org/concert/san-francisco-concert-voices-witness\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003ch4 align=\"left\">\u003c/h4>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.musicofremembrance.org/concert/san-francisco-concert-voices-witness\" target=\"_blank\" rel=\"noopener\">Music of Remembrance\u003c/a> mostly focuses on remembering the Holocaust through musical events, commissions, recordings and educational workshops. But the Seattle-based performing arts organization sometimes looks beyond atrocities committed against Jews during World War II.\u003c/p>\n\u003cp>The May 24 “Voices of Witness” concert at the \u003ca href=\"https://sfcm.edu/\" target=\"_blank\" rel=\"noopener\">San Francisco Conservatory of Music\u003c/a> includes a pair of new works by composers Ryuichi Sakamoto and Christophe Chagnard reflecting on the imprisonment of Japanese Americans in the United States during World War II.\u003c/p>\n\u003cfigure id=\"attachment_13833167\" class=\"wp-caption alignright\" style=\"max-width: 477px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13833167\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/cover_2017-18-2-e1527028170990.jpg\" alt='Publicity art for \"Voices of Witness\", a concert of new works honoring victims of the Japanese prison camps during the World War II at the San Francisco Conservatory of Music.' width=\"477\" height=\"268\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/cover_2017-18-2-e1527028170990.jpg 477w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/cover_2017-18-2-e1527028170990-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/cover_2017-18-2-e1527028170990-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/cover_2017-18-2-e1527028170990-375x211.jpg 375w\" sizes=\"(max-width: 477px) 100vw, 477px\">\u003cfigcaption class=\"wp-caption-text\">Publicity art for “Voices of Witness”, a concert of new works honoring victims of the Japanese prison camps during the World War II at the San Francisco Conservatory of Music. \u003ccite>(Courtesy of Voices of Remembrance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Based on a famous poem by the 20th-century Japanese poet Kiyoko Nagase, Sakamoto’s \u003cem>Snow Falls \u003c/em>employs melodies from the composer’s score for the movie \u003cem>Nagasaki: Memories of My Son\u003c/em>.\u003c/p>\n\u003cp>Chagnard uses traditional Japanese and classical Western instruments in his multimedia piece \u003cem>Gaman, \u003c/em> which explores the words and images of artists and writers held captive at the Minidoka camp in Idaho.\u003c/p>\n\u003cp>The program, which features two additional works about the Holocaust, will be performed by a chamber ensemble comprised of Seattle Symphony players; vocalists Erich Parce, Roslyn Barak and Ann Moss; and taiko drummers Ringtaro and Asako Tateishi.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\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\u003cp>\u003cem>Music of Remembrance presents “Voices of Witness” at the San Francisco Conservatory of Music on Thursday, May 24. Details \u003ca href=\"https://www.musicofremembrance.org/concert/san-francisco-concert-voices-witness\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003ch4 align=\"left\">\u003c/h4>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Students Help Okinawan History Come Alive in UC Santa Cruz Exhibit",
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"content": "\u003cp>During the time Army Captain Charles Gail wandered Okinawa with his box camera in 1952, his intention was artistic. But his slice-of-life photos — along with his detailed notes about each scene — serve as precious documentation of a way of life that’s gone now.\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/tcr/2017/11/OkinawanHistoryMyrow.mp3\" title=\"Okinawan History\" program=\"The California Report\" image=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/RS27905_Photo-Oct-05-4-768x432.jpg\"]\u003c/p>\n\u003cp>So when UC Santa Cruz was offered a trove of photos that Gail took while stationed on Okinawa, History Professor \u003ca href=\"https://history.ucsc.edu/faculty/profiles/singleton.php?&singleton=true&cruz_id=achristy\" target=\"_blank\" rel=\"noopener\">Alan Christy\u003c/a> jumped on it. Then, he took 15 students on a couple of international field trips to the island, to research and write history themselves.\u003c/p>\n\u003cp>“By working with me on the research,” he says, “they’ll learn how history is done.”\u003c/p>\n\u003ch2>Much of Okinawa’s historical record destroyed\u003c/h2>\n\u003cp>The epic battle on Okinawa, depicted in this 1945 newsreel, was devastating. About 90,000 soldiers were killed on both sides. More than 110,000 Okinawans died.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=ZUbDw84ouok]\u003cbr>\nAfter World War II, the US military moved in and established several bases, whether the Okinawans wanted them or not. Civilian photography was restricted. Christy explains, “WWII in Okinawa was immensely destructive of the heritage landscape: archives, images, not to mention, of course, people.”\u003c/p>\n\u003cp>As part of Christy’s project, UC Santa Cruz students were asked to seek out the exact places where Gail shot his photos, and found some of the people he photographed are still alive, or at least remembered by people alive today.\u003c/p>\n\u003cp>“Crowds would gather around the photo — all the old folk, particularly, because these are photos from 70 years ago — and argue about where this photo was or wasn’t,” Christy says.\u003c/p>\n\u003cfigure id=\"attachment_13831450\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Okinawan-note1-800x450.jpg\" alt='Charles Gail wrote notes on the back of his photographs, like the one at the top of this article: \"This is a seed store. The old gent has made himself a pair of bifocals by taping two pairs of glasses together...You will notice he smokes Camel cigarettes with an ivory holder, and the dragon ash tray is Okinawan pottery.\"' width=\"800\" height=\"450\" class=\"size-medium wp-image-13831450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Charles Gail wrote notes on the back of his photographs, like the one at the top of this article: “This is a seed store. The old gent has made himself a pair of bifocals by taping two pairs of glasses together…You will notice he smokes Camel cigarettes with an ivory holder, and the dragon ash tray is Okinawan pottery.” \u003ccite>(Courtesy of UC Santa Cruz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“‘Ah, I remember those people, the people were were selling fish like that.’ You’d just get these great conversations and sit there and soak it in,” Christy says.\u003c/p>\n\u003cp>Gail focused his camera on long-suffering peasants carrying goods to market, fishermen hauling their catch onto the beach, and adorable children everywhere.\u003c/p>\n\u003cp>Now, a selection of his photos, as well as photos shot by students in the same locations, are on display at the \u003ca href=\"http://art.ucsc.edu/galleries/gail-project-okinawan-american-dialogue\" target=\"_blank\" rel=\"noopener\">Mary Porter Sesnon Art Gallery\u003c/a> at UC Santa Cruz.\u003c/p>\n\u003cfigure id=\"attachment_13831452\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Okinawan-note2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13831452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Some of the little children are now elders on Okinawa. Detail of photo by Charles Eugene Gail; c. 1952. \u003ccite>(Charles Eugene Gail)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Gail Project: An Okinawan-American Dialogue\u003c/em>, which includes 50 digital prints reprinted from the original 200 black and white photos, is being developed into a traveling exhibition.\u003c/p>\n\u003cp>The current exhibit also includes an online archive, with oral histories from Americans and Okinawans, as well as undergraduate research and writing.\u003c/p>\n\u003ch2>No “us” and “them” when the subjects are your relatives\u003c/h2>\n\u003cp>Among the student historians: Alexyss “Lex” McClellan, who’s majoring in history and critical race and ethnic studies. McClellan is also part Okinawan.\u003c/p>\n\u003cp>“Most of my family’s worldly possessions were destroyed during the battle, so photos are rare,” McClellan says. Her grandmother married an American serviceman and moved to San Diego.\u003c/p>\n\u003cfigure id=\"attachment_13831454\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Okinawan-note3-800x1108.jpg\" alt=\"Locating the exact spots where Charles Gail shot his photos in 1952 was no small feat. Take this shot of the Katsuren Peninsula, that now features a bridge. Supportive Okinawans helped the student historians from UC Santa Cruz figure out where to go.\" width=\"800\" height=\"1108\" class=\"size-medium wp-image-13831454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3-160x222.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3-768x1064.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3-240x332.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3-375x519.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3-520x720.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Locating the exact spots where Charles Gail shot his photos in 1952 was no small feat. Take this shot of the Katsuren Peninsula, that now features a bridge. Supportive Okinawans helped the student historians from UC Santa Cruz figure out where to go. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This project has been a blessing to me because it’s given me an opportunity — to talk to my grandmother, her sisters, her brother and the rest of my family on a level they empathize deeply with — and so for them to tell stories that I had never heard growing up,” McClellan says.\u003c/p>\n\u003cp>McClellan and her family are also enjoying an upwelling of pride at the attention UC Santa Cruz is paying to Okinawan culture. Outside of Japan, many people are not aware the islanders don’t consider themselves Japanese. Their neighbors to the north only took over Okinawa in 1609.\u003c/p>\n\u003cp>Okinawans speak different languages. Or rather, they did. After years of Japanese and American occupation, less than 10,000 people now speak some form of Okinawan. It’s just another way a distinctive indigenous culture fades into history.\u003c/p>\n\u003cp>McLellan says Gail wasn’t thinking about history when he took his photographs. “He was just taking pictures he thought other Americans might find anomalous or interesting. But to us, these are a gold mine.”\u003c/p>\n\u003cfigure id=\"attachment_13831455\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Okinawan-note4-800x450.jpg\" alt='Detail of \"Tattoos,\" by Charles Eugene Gail; c. 1952. \"Notice tattoos on her wrist, an old marrying custom,\" Gail wrote on the back. Old indeed. Japan banned the practice of hachiji in the late 19th century as part of an effort to suppress local customs. Women like this one were some of the last to wear these indigo tattoos for decades. The practice is now enjoying a resurgence on Okinawa.' width=\"800\" height=\"450\" class=\"size-medium wp-image-13831455\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of “Tattoos,” by Charles Eugene Gail; c. 1952. “Notice tattoos on her wrist, an old marrying custom,” Gail wrote on the back. Old indeed. Japan banned the practice of hachiji in the late 19th century as part of an effort to suppress local customs. Women like this one were some of the last to wear these indigo tattoos for decades. The practice is now enjoying a resurgence on Okinawa. \u003ccite>(Charles Eugene Gail)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Geri Gail, a former employee of UC Santa Cruz who always knew her dad was a talent, it’s a thrill to see his pictures archived in excellent company alongside prominent 20th century photographers in the university’s growing collection.\u003c/p>\n\u003cp>“It just gives me goose bumps. I’m so proud,” she says, looking at her father’s photos up on the wall at the Sesnon Gallery.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Gail Project: An Okinawan-American Dialogue’ is on view at the The Mary Porter Sesnon Art Gallery through Dec. 2, 2017. For more information, \u003ca href=\"https://gailproject.ucsc.edu\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>During the time Army Captain Charles Gail wandered Okinawa with his box camera in 1952, his intention was artistic. But his slice-of-life photos — along with his detailed notes about each scene — serve as precious documentation of a way of life that’s gone now.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So when UC Santa Cruz was offered a trove of photos that Gail took while stationed on Okinawa, History Professor \u003ca href=\"https://history.ucsc.edu/faculty/profiles/singleton.php?&singleton=true&cruz_id=achristy\" target=\"_blank\" rel=\"noopener\">Alan Christy\u003c/a> jumped on it. Then, he took 15 students on a couple of international field trips to the island, to research and write history themselves.\u003c/p>\n\u003cp>“By working with me on the research,” he says, “they’ll learn how history is done.”\u003c/p>\n\u003ch2>Much of Okinawa’s historical record destroyed\u003c/h2>\n\u003cp>The epic battle on Okinawa, depicted in this 1945 newsreel, was devastating. About 90,000 soldiers were killed on both sides. More than 110,000 Okinawans died.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ZUbDw84ouok'\n title='//www.youtube.com/embed/ZUbDw84ouok'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cbr>\nAfter World War II, the US military moved in and established several bases, whether the Okinawans wanted them or not. Civilian photography was restricted. Christy explains, “WWII in Okinawa was immensely destructive of the heritage landscape: archives, images, not to mention, of course, people.”\u003c/p>\n\u003cp>As part of Christy’s project, UC Santa Cruz students were asked to seek out the exact places where Gail shot his photos, and found some of the people he photographed are still alive, or at least remembered by people alive today.\u003c/p>\n\u003cp>“Crowds would gather around the photo — all the old folk, particularly, because these are photos from 70 years ago — and argue about where this photo was or wasn’t,” Christy says.\u003c/p>\n\u003cfigure id=\"attachment_13831450\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Okinawan-note1-800x450.jpg\" alt='Charles Gail wrote notes on the back of his photographs, like the one at the top of this article: \"This is a seed store. The old gent has made himself a pair of bifocals by taping two pairs of glasses together...You will notice he smokes Camel cigarettes with an ivory holder, and the dragon ash tray is Okinawan pottery.\"' width=\"800\" height=\"450\" class=\"size-medium wp-image-13831450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Charles Gail wrote notes on the back of his photographs, like the one at the top of this article: “This is a seed store. The old gent has made himself a pair of bifocals by taping two pairs of glasses together…You will notice he smokes Camel cigarettes with an ivory holder, and the dragon ash tray is Okinawan pottery.” \u003ccite>(Courtesy of UC Santa Cruz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“‘Ah, I remember those people, the people were were selling fish like that.’ You’d just get these great conversations and sit there and soak it in,” Christy says.\u003c/p>\n\u003cp>Gail focused his camera on long-suffering peasants carrying goods to market, fishermen hauling their catch onto the beach, and adorable children everywhere.\u003c/p>\n\u003cp>Now, a selection of his photos, as well as photos shot by students in the same locations, are on display at the \u003ca href=\"http://art.ucsc.edu/galleries/gail-project-okinawan-american-dialogue\" target=\"_blank\" rel=\"noopener\">Mary Porter Sesnon Art Gallery\u003c/a> at UC Santa Cruz.\u003c/p>\n\u003cfigure id=\"attachment_13831452\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Okinawan-note2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13831452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Some of the little children are now elders on Okinawa. Detail of photo by Charles Eugene Gail; c. 1952. \u003ccite>(Charles Eugene Gail)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Gail Project: An Okinawan-American Dialogue\u003c/em>, which includes 50 digital prints reprinted from the original 200 black and white photos, is being developed into a traveling exhibition.\u003c/p>\n\u003cp>The current exhibit also includes an online archive, with oral histories from Americans and Okinawans, as well as undergraduate research and writing.\u003c/p>\n\u003ch2>No “us” and “them” when the subjects are your relatives\u003c/h2>\n\u003cp>Among the student historians: Alexyss “Lex” McClellan, who’s majoring in history and critical race and ethnic studies. McClellan is also part Okinawan.\u003c/p>\n\u003cp>“Most of my family’s worldly possessions were destroyed during the battle, so photos are rare,” McClellan says. Her grandmother married an American serviceman and moved to San Diego.\u003c/p>\n\u003cfigure id=\"attachment_13831454\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Okinawan-note3-800x1108.jpg\" alt=\"Locating the exact spots where Charles Gail shot his photos in 1952 was no small feat. Take this shot of the Katsuren Peninsula, that now features a bridge. Supportive Okinawans helped the student historians from UC Santa Cruz figure out where to go.\" width=\"800\" height=\"1108\" class=\"size-medium wp-image-13831454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3-160x222.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3-768x1064.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3-240x332.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3-375x519.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note3-520x720.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Locating the exact spots where Charles Gail shot his photos in 1952 was no small feat. Take this shot of the Katsuren Peninsula, that now features a bridge. Supportive Okinawans helped the student historians from UC Santa Cruz figure out where to go. \u003ccite>(Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This project has been a blessing to me because it’s given me an opportunity — to talk to my grandmother, her sisters, her brother and the rest of my family on a level they empathize deeply with — and so for them to tell stories that I had never heard growing up,” McClellan says.\u003c/p>\n\u003cp>McClellan and her family are also enjoying an upwelling of pride at the attention UC Santa Cruz is paying to Okinawan culture. Outside of Japan, many people are not aware the islanders don’t consider themselves Japanese. Their neighbors to the north only took over Okinawa in 1609.\u003c/p>\n\u003cp>Okinawans speak different languages. Or rather, they did. After years of Japanese and American occupation, less than 10,000 people now speak some form of Okinawan. It’s just another way a distinctive indigenous culture fades into history.\u003c/p>\n\u003cp>McLellan says Gail wasn’t thinking about history when he took his photographs. “He was just taking pictures he thought other Americans might find anomalous or interesting. But to us, these are a gold mine.”\u003c/p>\n\u003cfigure id=\"attachment_13831455\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Okinawan-note4-800x450.jpg\" alt='Detail of \"Tattoos,\" by Charles Eugene Gail; c. 1952. \"Notice tattoos on her wrist, an old marrying custom,\" Gail wrote on the back. Old indeed. Japan banned the practice of hachiji in the late 19th century as part of an effort to suppress local customs. Women like this one were some of the last to wear these indigo tattoos for decades. The practice is now enjoying a resurgence on Okinawa.' width=\"800\" height=\"450\" class=\"size-medium wp-image-13831455\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Okinawan-note4-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of “Tattoos,” by Charles Eugene Gail; c. 1952. “Notice tattoos on her wrist, an old marrying custom,” Gail wrote on the back. Old indeed. Japan banned the practice of hachiji in the late 19th century as part of an effort to suppress local customs. Women like this one were some of the last to wear these indigo tattoos for decades. The practice is now enjoying a resurgence on Okinawa. \u003ccite>(Charles Eugene Gail)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Geri Gail, a former employee of UC Santa Cruz who always knew her dad was a talent, it’s a thrill to see his pictures archived in excellent company alongside prominent 20th century photographers in the university’s growing collection.\u003c/p>\n\u003cp>“It just gives me goose bumps. I’m so proud,” she says, looking at her father’s photos up on the wall at the Sesnon Gallery.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘The Gail Project: An Okinawan-American Dialogue’ is on view at the The Mary Porter Sesnon Art Gallery through Dec. 2, 2017. For more information, \u003ca href=\"https://gailproject.ucsc.edu\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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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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"order": 9
},
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"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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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"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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},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"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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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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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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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"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",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
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"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
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