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"content": "\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>View the full episode transcript.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>As young people across the nation lead protests addressing war, climate change, reproductive rights and other major issues of our time, it’s important that adults in positions of power give them a platform and step back so the next generation of leaders can shine.\u003c/p>\n\u003cp>Young people have something to say, and they need allies. They need people like poet and educator \u003ca href=\"https://www.instagram.com/mush510_/\" target=\"_blank\" rel=\"noopener\">Michelle “Mush” Lee\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13958226\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13958226\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/download-800x800.jpg\" alt=\"Woman faces camera with a smile, while wearing a gold necklace over a white top in front of a white background. \" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/download-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/download-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/download-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/download-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/download.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Once you put your pen to paper, don’t stop’ — Michelle ‘Mush’ Lee\u003c/figcaption>\u003c/figure>\n\u003cp>Lee is the executive director of the renowned poetry organization \u003ca href=\"https://youthspeaks.org/\" target=\"_blank\" rel=\"noopener\">Youth Speaks\u003c/a>. The organization boasts a long list of alums who’ve become playwrights and poets, actors and activists. Just two years after its founding in 1996, Youth Speaks launched the annual youth poetry slam, Brave New Voices. This year, the three-day conference that pulls young poets from all corners of the country will be held in the nation’s capital, Washington D.C., just months before the presidential election.\u003c/p>\n\u003cp>As an organizer, Lee is looking ahead to this year’s conference with a clear understanding of why young people’s voices are so important right now.\u003c/p>\n\u003cp>Raised between San Francisco and Hercules, Lee didn’t get into spoken word and poetry until her college years, but the seeds had been planted through her family lineage. Her grandfather was a pastor who she saw rigorously working on his craft when she was a kid. Years later, when Lee stumbled across a book her mother wrote and had published in Korea, she truly saw the connection.\u003c/p>\n\u003cp>This week on Rightnowish we take a little dive into family history and explore the big concerns of the next generation with published poet, educator and youth advocate, Michelle “Mush” Lee.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC5141054590\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, Host: \u003c/b>\u003cspan style=\"font-weight: 400\">Today we’re in conversation with poet and educator Michelle Lee, better known as Mush. Growing up between San Francisco and Hercules, Mush didn’t identify as a poet or spoken word artist until her college days, which is funny because her family has a pretty deep and profound connection to words.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Michelle “Mush” Lee, Guest: \u003c/b>\u003cspan style=\"font-weight: 400\">I\u003c/span>\u003cspan style=\"font-weight: 400\"> was helping my dad clear out the garage. There was a bunch of boxes with, you know, we open ‘em, it’s the same book. And it’s in Korean, and, you know, so we’re like, man, they’re like 200 copies of this book, what is it? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I go to the back, you know, where the artist bio and and picture is, and there’s my mom. It’s a whole book of poems that she secretly, somehow published in Korea. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Now, Mush is at the helm of Youth Speaks, a nationally recognized organization that\u003c/span> \u003cspan style=\"font-weight: 400\">created a platform for young emerging poets. And it all started right here in Frisco!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As we continue to read news headlines about young people being on the forefront of combating climate change, pushing for reproductive rights, and organizing anti-war protests across our country, we’re going to hear how adults like Mush Lee are helping young poets raise their voices. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">I’m Rightnowish host, Pendarvis Harshaw, stick around for our conversation right after this.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Before poetry, spoken word, you were attracted to the oral tradition through the church. How did that play a role in who you are?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Michelle “Mush” Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">Thank you for asking it because it’s a straight, it’s a direct line to my grandparents. You know, I’m a first generation born in San Francisco, California. L\u003c/span>\u003cspan style=\"font-weight: 400\">ike a lot of children of immigrant parents or parents that are just working hella hard, you know, you get bounced around from family to family. You know what I mean? The cousin, the uncle.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">My grandfather was a Presbyterian pastor. \u003c/span>\u003cb> \u003c/b>\u003cspan style=\"font-weight: 400\">You know, Presbyterians get a rap of being like the boring square and nerdy theological super textbook.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">But still, even in my grandfather’s church, you know, I would always hear him behind the pew practicing. He would always be rehearsing. I’d always see him at his dinner table just writing and writing, reading scripture. So the act of going from the pen to the page to the book to the oral, mouth to the ear\u003c/span> \u003cspan style=\"font-weight: 400\">That was something I think, that I was just exposed to at a really, really young age. And despite being super like Presbyterian Christians, like, there was still some version of call and response, like the Korean grandmother’s in the, you know, in the pews. They were they were, you know, doing their call and responsing. And so there’s certain elements of, I think, hip hop cultural spaces and hip hop ethos and spoken word that resonated very quickly for me, even though where I was first exposed to those kind of expressions was not necessarily through poetry at all.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">But the seed was planted and then\u003c/span> \u003cspan style=\"font-weight: 400\">you stepped into poetry full on, all ten toes as a young adult. Bring me into that experience.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Michelle “Mush” Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">I was in the West Indies in undergrad. I was 19, maybe, studying abroad. The war breaks out. It was Bush’s first term, I think, Bush son, junior. And I just was alone. You know, there’s something about being lonely and alone and kind of physically apart and disconnected.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I got really reflective. I got really angry and I got scared, but mostly angry. So I started reading about what’s happening in the war. I started,I don’t know where, I just started watching YouTube.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I found some poets, some def poets, Def Poetry Jam poets and\u003c/span> \u003cspan style=\"font-weight: 400\">you know. There was an invitation from a professor in my women’s studies class there at University of West Indies who, that come and do open mic, all the women in the class. So I wrote my first poem about like, f*ck Bush, you know, f*ck the war. A lot of f*cks in there\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And also like, I’m the sh*t because I’m an Asian woman, you know, hear me that, you know, it’s like the first sound. We call it first sound, at Youth Speaks when it’s like the first time a poet really has to say something serious and meaningful and like it’s urgent, and then it just comes out like that. So it was my little first sound moment.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And then as soon as I got back home that December, I hit every single open mic that I could. So my best friend, Merv drove me around. And that’s where I found Youth Speaks. And I was 19. Just turning 20.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\"> You are the executive director of Youth Speaks. It’s a nationally renowned organization that promotes young folks using their voice to speak about what’s really going on. I need the origin story. Where did it all start?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Michelle “Mush” Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">Legend is, is that it started in the back of somebody’s trunk, with a bunch of loose paper, pencils and books, like books of poetry. And it was like a roving mobile poetry workshop space before that became a thing. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So shout out to our, our founders, James Kass, our founding artistic director, Mark Bamuthi Joseph. Of course, the legendary Paul Flores.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The story is James Paul, they were MFA writers over at a university.\u003c/span> \u003cspan style=\"font-weight: 400\">They’re like, man, what’s up with all these white writers? And like 78% of them are dead, \u003c/span>\u003cb> \u003c/b>\u003cspan style=\"font-weight: 400\">and they said, you know, this can’t be right. You know, there’s got to be other ways of learning and engaging poetry and creative writing. And so they said ‘Look, why don’t we just hit up, schools and see if any teacher wants to, you know, give us 30 minutes of writing time?’ \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And that was it. And we had the first youth poetry slam in the world that following year. Had no idea what was going to happen. Opened the doors in San Francisco, California and there was a line out the door, packed.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">What year we talking about?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Michelle “Mush” Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">The organization started formally, formed in 1996. So it was around the early 90s, you know, hip hop was taking kind of a global commercial stance, and it was becoming more relevant. You know, and hip hop theater was something that was starting to bubble up. You remember \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Carmen\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh yeah, with Beyonce and Mos Def, how can I forget?\u003c/span>\u003c/p>\n\u003cp>\u003cem>[2001 movie trailer for “Carmen: A Hip Hopera”]\u003c/em>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Mekhi Phifer, Beyonce Knowles, Mos Def, Rah Digga, Da Brat, \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Carmen, the original Hip Hopera\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Michelle “Mush” Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">As I was going back during that time and figuring out what were the kind of the cultural moments that catalyzed some of, you know, the spoken word movement, the hip hop theater, hip hop education spaces? My memory brought me back to \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Carmen.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">I remember watching it, and I love Beyonce then and now, but I remember watching it thinking, I don’t understand what’s happening! You know what I mean?! and i love beyonce and i love Mos and Mos def went on host 6 seasons of Def Poetry on HBO so that’s around the cultural moment and zeitgeist when Youth Speaks was being formed.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Got it okay, okay. And then put it in context, how does the event, the annual event, Brave New Voices play a part in spreading the idea behind Youth Speaks?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Michelle “Mush” Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">In 1997, we started the first, you know, hosted the first Youth Poetry Slam in Frisco in San Francisco. And, we realized quickly that there were other cities, you know, poets were teaching other young folks. And so four cities got together a couple of years later, in New Mexico and said, you know, let’s convene every year. Let’s just get us together\u003c/span> \u003cspan style=\"font-weight: 400\">to create a space, 3 or 4 days, for young folks to just share their stories but also engage in this, like, oral poetic that was, again, from the hip hop culture, born of a very specific social context, from Black oral tradition. And, you know, it’s like when you meet your people, you find your people. And it’s like, by all means, any means and all means, like, let’s stay together.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Michelle “Mush” Lee:\u003c/b>\u003cspan style=\"font-weight: 400\">That became kind of the pathway to connecting with eventually what became a network of 60 different youth voice organizations in the country: every corner, including, some First Nations reservations. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It was a way for young people to see and experience other poets who don’t look like them, who who might not even sound like them, definitely did not come from the same type of walk of life. But what, what bound everybody together was their love for the word and we thought that was the best type of exchange.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">So Brave New Voices, toeing the line of three decades of being in existence and bringing young folks together to platform their voices and talk about issues that matter right now. Why is this July’s event so special and what’s the focus of it?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Michelle “Mush” Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">There’s this kind of collective, disposition that and spirit energy, whatever you want to call it, that says that things feel particularly difficult. You know, so language like collective grief, collective punishment, collective fatigue, collective exhaustion,it’s weighing on us. And let’s the, you know, the obvious this November is the presidential election.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s a lot at stake, I think, and there’s a lot of legitimate resistance and frustration and rage amongst young people at the ways that our generation and our parents and grandparents generations um\u003c/span> \u003cspan style=\"font-weight: 400\">voluntary or involuntary have created like, the conditions.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. What are some of the key issues that you folks are looking to talk about?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Michelle “Mush” Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">The stuff that comes up is social media and mental health,\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cem>[Clip of Youth Speaks poet reciting poem on healing]\u003c/em>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">You believe that you are the definition of opaque. \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">You don’t even realize that you are the centerpiece in a room of double-sided mirrors and if only you cupped your hands around the glass, you would realize this is what healing looks like,\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">allowing yourself to become some sort of transparency. \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">And yes, they say healing is not linear, but healing is a revolving door..\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Michelle “Mush” Lee: …\u003c/b>\u003cspan style=\"font-weight: 400\">climate justice… \u003c/span>\u003c/p>\n\u003cp>\u003cem>[Clip of Youth Speaks poets talking about climate justice]\u003c/em>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Abuelos and Abuelas\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Kids scattered on playgrounds\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Farmers toiling the fields\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Boiling under blistering heat\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Michelle “Mush” Lee: …\u003c/b>\u003cspan style=\"font-weight: 400\">kind of an interrogation of colonialism, rematriation movements. What does that mean? What does it mean to be indigenous and sovereign? Also, you know, American Samoa, and other kind of nations that are, have been struggling in movement and movement work to be able to take back their ancestral land.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Michelle “Mush” Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">Censorship,\u003c/span>\u003c/p>\n\u003cp>\u003cem>[Clip of Youth Speaks poet reciting poem about banned books]\u003c/em>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">We are not perfect but our nation is based on hope. \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i> \u003ci>\u003cspan style=\"font-weight: 400\">We are always striving for a more perfect union \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i> \u003ci>\u003cspan style=\"font-weight: 400\">That hope is crushed when books are banned, \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i> \u003ci>\u003cspan style=\"font-weight: 400\">ripping away stories that need to be told. [audience hmm]\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i> \u003ci>\u003cspan style=\"font-weight: 400\">If voices can be so easily muzzled in America, \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i> \u003ci>\u003cspan style=\"font-weight: 400\">what hope do people yearning for freedom have in \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i> \u003ci>\u003cspan style=\"font-weight: 400\">Russia, China, Ukraine, Gaza?\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i> \u003ci>\u003cspan style=\"font-weight: 400\">Silencing books by banning them only leads to \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i> \u003ci>\u003cspan style=\"font-weight: 400\">silencing people by bombing them. [audience cheering]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Michelle “Mush” Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">Last thing I’ll say is, underneath it all, one of the greatest powers that every poet I know has is the power to time travel. And by that, I mean\u003c/span> \u003cspan style=\"font-weight: 400\">somebody says or shares something that you know is authentic, you know, is real and you know, took some type of risk to, to to share\u003c/span>\u003cb>. \u003c/b>\u003cspan style=\"font-weight: 400\">And suddenly, you know them in a new way,\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">I don’t know how to describe that. I always just describe it as time travel. We don’t give it enough due credit. You know, funders are always trying to measure that stuff. I’m like, ‘you can’t measure it man You can’t. You just got to trust. Just come into this space and feel it. I promise you, you’re just gonna want to write checks to the shorties.’ But, yeah, I think that is one of the most magical things that a poet and most artists I know are able to do.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The ability to connect people across, you know, imagined or real dividing lines is something that we’re trying to preserve through Brave New voices.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">i love that. I love that you said that it’s there are so many different issues to address. Underneath that is the human connection and the ability to create empathy, situations where people can be open to other people’s lived experiences. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With that said, do you have any advice to a young poet, someone in their teens, 20s, or even an older person who’s looking to make their first sound, as you said?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Michelle “Mush” Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">Look, I’m 41 years old. I was born in 1982. This is a different moment. You know, I have a child that’s 11 years old, so it’s a different moment. I recognize that. It’s really hard. I feel like it’s even harder for our young people today to feel like they can truly make mistakes and fail publicly.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">Shame based culture, there’s all kinds of stuff that existed even when we were children but it’s, it’s a different scale and scope. And so I would say, look, you’re going to suck. And it’s going to be fine. But if it feels right when you’re up there, no matter how much your paper is shaking, you got to keep doing it and that’s it.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">Once you put your pen to paper, don’t stop and seek out mentors. And then finally, come find Youth Speaks. Even if you’ve never written a poem,\u003c/span> \u003cspan style=\"font-weight: 400\">and we will walk with you.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Mush, thank you for your time, for your personal story and for assisting the next generation in telling their story. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Again, Mush is the Executive Director of Youth Speaks, you can learn more about that organization by checking out their website, \u003c/span>\u003cspan style=\"font-weight: 400\">youthspeaks.org\u003c/span>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This summer Youth Speaks will be one of the many poetry orgs participating in Brave New Voices in Washington D.C., for more info on that check youthspeaks.org/bravenewvoices\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And for more on Mush, she’s on Instagram. You can find her @ Mush510_ \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was hosted by me, Pendarvis Harshaw. Marisol Medina-Cadena produced this episode. Chris Hambrick held it down for edits on this one. Christopher Beale engineered this joint. \u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Rightnowish team is also supported by Jen Chien, Ugur Dursun, Holly Kernan, Cesar Saldaña, and Katie Sprenger. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED production. Until next time, peace!\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]=\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"title": "When the Youth Speak, Mush Lee Listens | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>View the full episode transcript.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>As young people across the nation lead protests addressing war, climate change, reproductive rights and other major issues of our time, it’s important that adults in positions of power give them a platform and step back so the next generation of leaders can shine.\u003c/p>\n\u003cp>Young people have something to say, and they need allies. They need people like poet and educator \u003ca href=\"https://www.instagram.com/mush510_/\" target=\"_blank\" rel=\"noopener\">Michelle “Mush” Lee\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13958226\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13958226\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/download-800x800.jpg\" alt=\"Woman faces camera with a smile, while wearing a gold necklace over a white top in front of a white background. \" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/download-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/download-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/download-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/download-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/download.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Once you put your pen to paper, don’t stop’ — Michelle ‘Mush’ Lee\u003c/figcaption>\u003c/figure>\n\u003cp>Lee is the executive director of the renowned poetry organization \u003ca href=\"https://youthspeaks.org/\" target=\"_blank\" rel=\"noopener\">Youth Speaks\u003c/a>. The organization boasts a long list of alums who’ve become playwrights and poets, actors and activists. Just two years after its founding in 1996, Youth Speaks launched the annual youth poetry slam, Brave New Voices. This year, the three-day conference that pulls young poets from all corners of the country will be held in the nation’s capital, Washington D.C., just months before the presidential election.\u003c/p>\n\u003cp>As an organizer, Lee is looking ahead to this year’s conference with a clear understanding of why young people’s voices are so important right now.\u003c/p>\n\u003cp>Raised between San Francisco and Hercules, Lee didn’t get into spoken word and poetry until her college years, but the seeds had been planted through her family lineage. Her grandfather was a pastor who she saw rigorously working on his craft when she was a kid. Years later, when Lee stumbled across a book her mother wrote and had published in Korea, she truly saw the connection.\u003c/p>\n\u003cp>This week on Rightnowish we take a little dive into family history and explore the big concerns of the next generation with published poet, educator and youth advocate, Michelle “Mush” Lee.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC5141054590\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, Host: \u003c/b>\u003cspan style=\"font-weight: 400\">Today we’re in conversation with poet and educator Michelle Lee, better known as Mush. Growing up between San Francisco and Hercules, Mush didn’t identify as a poet or spoken word artist until her college days, which is funny because her family has a pretty deep and profound connection to words.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Michelle “Mush” Lee, Guest: \u003c/b>\u003cspan style=\"font-weight: 400\">I\u003c/span>\u003cspan style=\"font-weight: 400\"> was helping my dad clear out the garage. There was a bunch of boxes with, you know, we open ‘em, it’s the same book. And it’s in Korean, and, you know, so we’re like, man, they’re like 200 copies of this book, what is it? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I go to the back, you know, where the artist bio and and picture is, and there’s my mom. It’s a whole book of poems that she secretly, somehow published in Korea. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Now, Mush is at the helm of Youth Speaks, a nationally recognized organization that\u003c/span> \u003cspan style=\"font-weight: 400\">created a platform for young emerging poets. And it all started right here in Frisco!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As we continue to read news headlines about young people being on the forefront of combating climate change, pushing for reproductive rights, and organizing anti-war protests across our country, we’re going to hear how adults like Mush Lee are helping young poets raise their voices. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">I’m Rightnowish host, Pendarvis Harshaw, stick around for our conversation right after this.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Before poetry, spoken word, you were attracted to the oral tradition through the church. How did that play a role in who you are?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Michelle “Mush” Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">Thank you for asking it because it’s a straight, it’s a direct line to my grandparents. You know, I’m a first generation born in San Francisco, California. L\u003c/span>\u003cspan style=\"font-weight: 400\">ike a lot of children of immigrant parents or parents that are just working hella hard, you know, you get bounced around from family to family. You know what I mean? The cousin, the uncle.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">My grandfather was a Presbyterian pastor. \u003c/span>\u003cb> \u003c/b>\u003cspan style=\"font-weight: 400\">You know, Presbyterians get a rap of being like the boring square and nerdy theological super textbook.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">But still, even in my grandfather’s church, you know, I would always hear him behind the pew practicing. He would always be rehearsing. I’d always see him at his dinner table just writing and writing, reading scripture. So the act of going from the pen to the page to the book to the oral, mouth to the ear\u003c/span> \u003cspan style=\"font-weight: 400\">That was something I think, that I was just exposed to at a really, really young age. And despite being super like Presbyterian Christians, like, there was still some version of call and response, like the Korean grandmother’s in the, you know, in the pews. They were they were, you know, doing their call and responsing. And so there’s certain elements of, I think, hip hop cultural spaces and hip hop ethos and spoken word that resonated very quickly for me, even though where I was first exposed to those kind of expressions was not necessarily through poetry at all.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">But the seed was planted and then\u003c/span> \u003cspan style=\"font-weight: 400\">you stepped into poetry full on, all ten toes as a young adult. Bring me into that experience.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Michelle “Mush” Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">I was in the West Indies in undergrad. I was 19, maybe, studying abroad. The war breaks out. It was Bush’s first term, I think, Bush son, junior. And I just was alone. You know, there’s something about being lonely and alone and kind of physically apart and disconnected.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I got really reflective. I got really angry and I got scared, but mostly angry. So I started reading about what’s happening in the war. I started,I don’t know where, I just started watching YouTube.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I found some poets, some def poets, Def Poetry Jam poets and\u003c/span> \u003cspan style=\"font-weight: 400\">you know. There was an invitation from a professor in my women’s studies class there at University of West Indies who, that come and do open mic, all the women in the class. So I wrote my first poem about like, f*ck Bush, you know, f*ck the war. A lot of f*cks in there\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And also like, I’m the sh*t because I’m an Asian woman, you know, hear me that, you know, it’s like the first sound. We call it first sound, at Youth Speaks when it’s like the first time a poet really has to say something serious and meaningful and like it’s urgent, and then it just comes out like that. So it was my little first sound moment.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And then as soon as I got back home that December, I hit every single open mic that I could. So my best friend, Merv drove me around. And that’s where I found Youth Speaks. And I was 19. Just turning 20.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\"> You are the executive director of Youth Speaks. It’s a nationally renowned organization that promotes young folks using their voice to speak about what’s really going on. I need the origin story. Where did it all start?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Michelle “Mush” Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">Legend is, is that it started in the back of somebody’s trunk, with a bunch of loose paper, pencils and books, like books of poetry. And it was like a roving mobile poetry workshop space before that became a thing. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So shout out to our, our founders, James Kass, our founding artistic director, Mark Bamuthi Joseph. Of course, the legendary Paul Flores.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The story is James Paul, they were MFA writers over at a university.\u003c/span> \u003cspan style=\"font-weight: 400\">They’re like, man, what’s up with all these white writers? And like 78% of them are dead, \u003c/span>\u003cb> \u003c/b>\u003cspan style=\"font-weight: 400\">and they said, you know, this can’t be right. You know, there’s got to be other ways of learning and engaging poetry and creative writing. And so they said ‘Look, why don’t we just hit up, schools and see if any teacher wants to, you know, give us 30 minutes of writing time?’ \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And that was it. And we had the first youth poetry slam in the world that following year. Had no idea what was going to happen. Opened the doors in San Francisco, California and there was a line out the door, packed.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">What year we talking about?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Michelle “Mush” Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">The organization started formally, formed in 1996. So it was around the early 90s, you know, hip hop was taking kind of a global commercial stance, and it was becoming more relevant. You know, and hip hop theater was something that was starting to bubble up. You remember \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Carmen\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh yeah, with Beyonce and Mos Def, how can I forget?\u003c/span>\u003c/p>\n\u003cp>\u003cem>[2001 movie trailer for “Carmen: A Hip Hopera”]\u003c/em>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Mekhi Phifer, Beyonce Knowles, Mos Def, Rah Digga, Da Brat, \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Carmen, the original Hip Hopera\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Michelle “Mush” Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">As I was going back during that time and figuring out what were the kind of the cultural moments that catalyzed some of, you know, the spoken word movement, the hip hop theater, hip hop education spaces? My memory brought me back to \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Carmen.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">I remember watching it, and I love Beyonce then and now, but I remember watching it thinking, I don’t understand what’s happening! You know what I mean?! and i love beyonce and i love Mos and Mos def went on host 6 seasons of Def Poetry on HBO so that’s around the cultural moment and zeitgeist when Youth Speaks was being formed.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Got it okay, okay. And then put it in context, how does the event, the annual event, Brave New Voices play a part in spreading the idea behind Youth Speaks?\u003c/span>\u003c/p>\n\u003cp>\u003cb>Michelle “Mush” Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">In 1997, we started the first, you know, hosted the first Youth Poetry Slam in Frisco in San Francisco. And, we realized quickly that there were other cities, you know, poets were teaching other young folks. And so four cities got together a couple of years later, in New Mexico and said, you know, let’s convene every year. Let’s just get us together\u003c/span> \u003cspan style=\"font-weight: 400\">to create a space, 3 or 4 days, for young folks to just share their stories but also engage in this, like, oral poetic that was, again, from the hip hop culture, born of a very specific social context, from Black oral tradition. And, you know, it’s like when you meet your people, you find your people. And it’s like, by all means, any means and all means, like, let’s stay together.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Michelle “Mush” Lee:\u003c/b>\u003cspan style=\"font-weight: 400\">That became kind of the pathway to connecting with eventually what became a network of 60 different youth voice organizations in the country: every corner, including, some First Nations reservations. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It was a way for young people to see and experience other poets who don’t look like them, who who might not even sound like them, definitely did not come from the same type of walk of life. But what, what bound everybody together was their love for the word and we thought that was the best type of exchange.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">So Brave New Voices, toeing the line of three decades of being in existence and bringing young folks together to platform their voices and talk about issues that matter right now. Why is this July’s event so special and what’s the focus of it?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Michelle “Mush” Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">There’s this kind of collective, disposition that and spirit energy, whatever you want to call it, that says that things feel particularly difficult. You know, so language like collective grief, collective punishment, collective fatigue, collective exhaustion,it’s weighing on us. And let’s the, you know, the obvious this November is the presidential election.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s a lot at stake, I think, and there’s a lot of legitimate resistance and frustration and rage amongst young people at the ways that our generation and our parents and grandparents generations um\u003c/span> \u003cspan style=\"font-weight: 400\">voluntary or involuntary have created like, the conditions.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah. What are some of the key issues that you folks are looking to talk about?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Michelle “Mush” Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">The stuff that comes up is social media and mental health,\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cem>[Clip of Youth Speaks poet reciting poem on healing]\u003c/em>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">You believe that you are the definition of opaque. \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">You don’t even realize that you are the centerpiece in a room of double-sided mirrors and if only you cupped your hands around the glass, you would realize this is what healing looks like,\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">allowing yourself to become some sort of transparency. \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">And yes, they say healing is not linear, but healing is a revolving door..\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cb>Michelle “Mush” Lee: …\u003c/b>\u003cspan style=\"font-weight: 400\">climate justice… \u003c/span>\u003c/p>\n\u003cp>\u003cem>[Clip of Youth Speaks poets talking about climate justice]\u003c/em>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Abuelos and Abuelas\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Kids scattered on playgrounds\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Farmers toiling the fields\u003cbr>\n\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Boiling under blistering heat\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Michelle “Mush” Lee: …\u003c/b>\u003cspan style=\"font-weight: 400\">kind of an interrogation of colonialism, rematriation movements. What does that mean? What does it mean to be indigenous and sovereign? Also, you know, American Samoa, and other kind of nations that are, have been struggling in movement and movement work to be able to take back their ancestral land.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Michelle “Mush” Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">Censorship,\u003c/span>\u003c/p>\n\u003cp>\u003cem>[Clip of Youth Speaks poet reciting poem about banned books]\u003c/em>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">We are not perfect but our nation is based on hope. \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i> \u003ci>\u003cspan style=\"font-weight: 400\">We are always striving for a more perfect union \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i> \u003ci>\u003cspan style=\"font-weight: 400\">That hope is crushed when books are banned, \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i> \u003ci>\u003cspan style=\"font-weight: 400\">ripping away stories that need to be told. [audience hmm]\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i> \u003ci>\u003cspan style=\"font-weight: 400\">If voices can be so easily muzzled in America, \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i> \u003ci>\u003cspan style=\"font-weight: 400\">what hope do people yearning for freedom have in \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i> \u003ci>\u003cspan style=\"font-weight: 400\">Russia, China, Ukraine, Gaza?\u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i> \u003ci>\u003cspan style=\"font-weight: 400\">Silencing books by banning them only leads to \u003c/span>\u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/i> \u003ci>\u003cspan style=\"font-weight: 400\">silencing people by bombing them. [audience cheering]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Michelle “Mush” Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">Last thing I’ll say is, underneath it all, one of the greatest powers that every poet I know has is the power to time travel. And by that, I mean\u003c/span> \u003cspan style=\"font-weight: 400\">somebody says or shares something that you know is authentic, you know, is real and you know, took some type of risk to, to to share\u003c/span>\u003cb>. \u003c/b>\u003cspan style=\"font-weight: 400\">And suddenly, you know them in a new way,\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">I don’t know how to describe that. I always just describe it as time travel. We don’t give it enough due credit. You know, funders are always trying to measure that stuff. I’m like, ‘you can’t measure it man You can’t. You just got to trust. Just come into this space and feel it. I promise you, you’re just gonna want to write checks to the shorties.’ But, yeah, I think that is one of the most magical things that a poet and most artists I know are able to do.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The ability to connect people across, you know, imagined or real dividing lines is something that we’re trying to preserve through Brave New voices.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">i love that. I love that you said that it’s there are so many different issues to address. Underneath that is the human connection and the ability to create empathy, situations where people can be open to other people’s lived experiences. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With that said, do you have any advice to a young poet, someone in their teens, 20s, or even an older person who’s looking to make their first sound, as you said?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cb>Michelle “Mush” Lee: \u003c/b>\u003cspan style=\"font-weight: 400\">Look, I’m 41 years old. I was born in 1982. This is a different moment. You know, I have a child that’s 11 years old, so it’s a different moment. I recognize that. It’s really hard. I feel like it’s even harder for our young people today to feel like they can truly make mistakes and fail publicly.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">Shame based culture, there’s all kinds of stuff that existed even when we were children but it’s, it’s a different scale and scope. And so I would say, look, you’re going to suck. And it’s going to be fine. But if it feels right when you’re up there, no matter how much your paper is shaking, you got to keep doing it and that’s it.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">Once you put your pen to paper, don’t stop and seek out mentors. And then finally, come find Youth Speaks. Even if you’ve never written a poem,\u003c/span> \u003cspan style=\"font-weight: 400\">and we will walk with you.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Mush, thank you for your time, for your personal story and for assisting the next generation in telling their story. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Again, Mush is the Executive Director of Youth Speaks, you can learn more about that organization by checking out their website, \u003c/span>\u003cspan style=\"font-weight: 400\">youthspeaks.org\u003c/span>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This summer Youth Speaks will be one of the many poetry orgs participating in Brave New Voices in Washington D.C., for more info on that check youthspeaks.org/bravenewvoices\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And for more on Mush, she’s on Instagram. You can find her @ Mush510_ \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was hosted by me, Pendarvis Harshaw. Marisol Medina-Cadena produced this episode. Chris Hambrick held it down for edits on this one. Christopher Beale engineered this joint. \u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Rightnowish team is also supported by Jen Chien, Ugur Dursun, Holly Kernan, Cesar Saldaña, and Katie Sprenger. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED production. Until next time, peace!\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s no secret that the pandemic has made clear the very real inequity in America. Low-paid line cooks, factory workers and construction crews are \u003ca href=\"https://twitter.com/MeaghanThumath/status/1356523787265560576\" rel=\"noopener noreferrer\" target=\"_blank\">at the highest risk\u003c/a> of contracting COVID-19. Longstanding housing instability, \u003ca href=\"https://www.nejm.org/doi/full/10.1056/NEJMp2024897\" rel=\"noopener noreferrer\" target=\"_blank\">especially for immigrant families\u003c/a>, means cramped quarters and fast spread of the virus. Existing health care policies favor those employed full-time. And even the CDC recognizes that COVID-19 \u003ca href=\"https://www.cdc.gov/coronavirus/2019-ncov/community/health-equity/race-ethnicity.html\" rel=\"noopener noreferrer\" target=\"_blank\">disproportionately affects racial and ethnic minorities\u003c/a> due to existing structures. \u003c/p>\n\u003cp>These are big ideas to fit into poetry, but if anyone can do it, it’s the young. \u003cem>Between My Body and the Air\u003c/em> is a poetry anthology from Youth Speaks, the San Francisco nonprofit which for 25 years has worked to shape young writers’ and poets’ voices. Refreshingly, the book’s 60 poems don’t read like a series of nightly news reports, but rather, reflections of each poet’s experience before and during the pandemic. Take Elizabeth Joseph’s “Quarantine Cooking,” which reads in part:\u003c/p>\n\u003cblockquote>\u003cp>quarantine cooking calls for canned beans at the back of the shelf\u003cbr>\nyou brush dust off the top before opening\u003cbr>\nand spice it with the herbs three years older than that\u003cbr>\nknow this is all you have and it has to be enough\u003c/p>\n\u003cp>when you make cake to iron out stress,\u003cbr>\nyou’ll have to substitute applesauce for eggs,\u003cbr>\ndistance for love, and Twitter threads for healthcare.\u003c/p>\u003c/blockquote>\n\u003cp>On Feb. 19, the physical release of \u003cem>Between My Body and the Air\u003c/em> is celebrated in an \u003ca href=\"https://www.youtube.com/watch?v=66QVtlIuZkg\" rel=\"noopener noreferrer\" target=\"_blank\">hour-long online event\u003c/a> featuring several poets from the anthology (one of whom, in full disclosure, is Samuel Getachew, Oakland’s 2018 Youth Voice Poet Laureate and current KQED intern). For Black History Month, organizers have chosen an all-Black lineup, which also includes guest sets by Safia Elhillo and Imani Cezanne. The book is available \u003ca href=\"https://shop.youthspeaks.org/product/between-my-body-and-the-air-ebook/\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>, and the event streams at 4:30pm Pacific Time on Youth Speaks’ YouTube channel, available to view \u003ca href=\"https://www.youtube.com/watch?v=66QVtlIuZkg\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s no secret that the pandemic has made clear the very real inequity in America. Low-paid line cooks, factory workers and construction crews are \u003ca href=\"https://twitter.com/MeaghanThumath/status/1356523787265560576\" rel=\"noopener noreferrer\" target=\"_blank\">at the highest risk\u003c/a> of contracting COVID-19. Longstanding housing instability, \u003ca href=\"https://www.nejm.org/doi/full/10.1056/NEJMp2024897\" rel=\"noopener noreferrer\" target=\"_blank\">especially for immigrant families\u003c/a>, means cramped quarters and fast spread of the virus. Existing health care policies favor those employed full-time. And even the CDC recognizes that COVID-19 \u003ca href=\"https://www.cdc.gov/coronavirus/2019-ncov/community/health-equity/race-ethnicity.html\" rel=\"noopener noreferrer\" target=\"_blank\">disproportionately affects racial and ethnic minorities\u003c/a> due to existing structures. \u003c/p>\n\u003cp>These are big ideas to fit into poetry, but if anyone can do it, it’s the young. \u003cem>Between My Body and the Air\u003c/em> is a poetry anthology from Youth Speaks, the San Francisco nonprofit which for 25 years has worked to shape young writers’ and poets’ voices. Refreshingly, the book’s 60 poems don’t read like a series of nightly news reports, but rather, reflections of each poet’s experience before and during the pandemic. Take Elizabeth Joseph’s “Quarantine Cooking,” which reads in part:\u003c/p>\n\u003cblockquote>\u003cp>quarantine cooking calls for canned beans at the back of the shelf\u003cbr>\nyou brush dust off the top before opening\u003cbr>\nand spice it with the herbs three years older than that\u003cbr>\nknow this is all you have and it has to be enough\u003c/p>\n\u003cp>when you make cake to iron out stress,\u003cbr>\nyou’ll have to substitute applesauce for eggs,\u003cbr>\ndistance for love, and Twitter threads for healthcare.\u003c/p>\u003c/blockquote>\n\u003cp>On Feb. 19, the physical release of \u003cem>Between My Body and the Air\u003c/em> is celebrated in an \u003ca href=\"https://www.youtube.com/watch?v=66QVtlIuZkg\" rel=\"noopener noreferrer\" target=\"_blank\">hour-long online event\u003c/a> featuring several poets from the anthology (one of whom, in full disclosure, is Samuel Getachew, Oakland’s 2018 Youth Voice Poet Laureate and current KQED intern). For Black History Month, organizers have chosen an all-Black lineup, which also includes guest sets by Safia Elhillo and Imani Cezanne. The book is available \u003ca href=\"https://shop.youthspeaks.org/product/between-my-body-and-the-air-ebook/\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>, and the event streams at 4:30pm Pacific Time on Youth Speaks’ YouTube channel, available to view \u003ca href=\"https://www.youtube.com/watch?v=66QVtlIuZkg\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The Kenneth Rainin Foundation announced Tuesday the awarding of $500,000 in grants to four local arts organizations for temporary public art projects in Oakland and San Francisco.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.cccsf.us/\" rel=\"noopener\" target=\"_blank\">Chinese Culture Center of San Francisco\u003c/a>, \u003ca href=\"https://flyawayproductions.com/\" rel=\"noopener\" target=\"_blank\">Flyaway Productions\u003c/a>, \u003ca href=\"http://www.galeriadelaraza.org/\" rel=\"noopener\" target=\"_blank\">Galería de la Raza\u003c/a> and \u003ca href=\"http://youthspeaks.org/\" rel=\"noopener\" target=\"_blank\">Youth Speaks\u003c/a> will each receive six-figure grants from the foundation. Selected from a field of 35 other applicants, the awardees are expected to complete their projects within the next 18 months.\u003c/p>\n\u003cp>The grants come from the foundation’s Open Spaces program, an initiative to provide more public art in the Bay Area. The program began two years ago as a way to engage local communities with art that speaks to bigger issues, such as immigration and displacement. \u003c/p>\n\u003cp>“It’s not like we’re sticking a statue in a neighborhood,” said Amanda Flores-Witte, the communications director for Kenneth Rainin Foundation. “We’re looking for ways to bring people together that wasn’t possible before.”\u003c/p>\n\u003cp>These projects “awaken people to what civil engagement is all about,” said Flores-Witte.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The projects being funded this cycle are as follows (per the \u003ca href=\"https://krfoundation.org/rainin-foundation-awards-500000-public-art-projects/\" rel=\"noopener\" target=\"_blank\">foundation’s website\u003c/a>):\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>TRANSITION24\u003c/strong> – The Chinese Culture Center of San Francisco, in collaboration with Survival Project artists Raina Ho, Thy Tran and Bryan Wu, will produce a story-sharing project using San Francisco’s 24 MUNI bus line to engage communities along its route in an exploration of survival, access, migration and community resilience. (Grant award: $133,000.)\u003c/li>\n\u003cli>\u003cstrong>TENDER (n) a person who takes charge\u003c/strong> – Flyaway Productions will work with artists Vân-Ánh Võ and Sean Riley to produce a multi-faceted performance celebrating 100 years of outcast activism in San Francisco’s Tenderloin neighborhood. (Grant award: $133,000.)\u003c/li>\n\u003cli>\u003cstrong>ARTruck Residencies\u003c/strong> – Galería de la Raza will work with curator Alexandra “Lexx” Valdez and artist-in-residence Jessica Sabogal to host screen and digital printmaking residencies that explore displacement and the housing crisis affecting San Francisco’s Mission District. (Grant award: $134,000.)\u003c/li>\n\u003cli>\u003cstrong>We So Bay\u003c/strong> – Youth Speaks, led by artists James Kass and Sean San Jose, will engage young people in six San Francisco and Oakland communities to tell stories about their neighborhoods. (Grant award: $100,000.)\u003c/li>\n\u003c/ul>\n\u003cp>The Rainin Foundation will begin accepting applications for the next year’s Open Spaces grants on June 25. In March, the foundation will host its \u003ca href=\"http://krfoundation.org/2018-exploring-public-art-practices/\" rel=\"noopener\" target=\"_blank\">second public art symposium\u003c/a> in March of this year. \u003c/p>\n\u003cp>Kenneth Rainin, owner of Rainin Instrument Company, started his foundation in order to support the arts, and fight ongoing issues such as childhood illiteracy and chronic disease. He died in May of 2007 at the age of 68.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The projects being funded this cycle are as follows (per the \u003ca href=\"https://krfoundation.org/rainin-foundation-awards-500000-public-art-projects/\" rel=\"noopener\" target=\"_blank\">foundation’s website\u003c/a>):\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>TRANSITION24\u003c/strong> – The Chinese Culture Center of San Francisco, in collaboration with Survival Project artists Raina Ho, Thy Tran and Bryan Wu, will produce a story-sharing project using San Francisco’s 24 MUNI bus line to engage communities along its route in an exploration of survival, access, migration and community resilience. (Grant award: $133,000.)\u003c/li>\n\u003cli>\u003cstrong>TENDER (n) a person who takes charge\u003c/strong> – Flyaway Productions will work with artists Vân-Ánh Võ and Sean Riley to produce a multi-faceted performance celebrating 100 years of outcast activism in San Francisco’s Tenderloin neighborhood. (Grant award: $133,000.)\u003c/li>\n\u003cli>\u003cstrong>ARTruck Residencies\u003c/strong> – Galería de la Raza will work with curator Alexandra “Lexx” Valdez and artist-in-residence Jessica Sabogal to host screen and digital printmaking residencies that explore displacement and the housing crisis affecting San Francisco’s Mission District. (Grant award: $134,000.)\u003c/li>\n\u003cli>\u003cstrong>We So Bay\u003c/strong> – Youth Speaks, led by artists James Kass and Sean San Jose, will engage young people in six San Francisco and Oakland communities to tell stories about their neighborhoods. (Grant award: $100,000.)\u003c/li>\n\u003c/ul>\n\u003cp>The Rainin Foundation will begin accepting applications for the next year’s Open Spaces grants on June 25. In March, the foundation will host its \u003ca href=\"http://krfoundation.org/2018-exploring-public-art-practices/\" rel=\"noopener\" target=\"_blank\">second public art symposium\u003c/a> in March of this year. \u003c/p>\n\u003cp>Kenneth Rainin, owner of Rainin Instrument Company, started his foundation in order to support the arts, and fight ongoing issues such as childhood illiteracy and chronic disease. He died in May of 2007 at the age of 68.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Attendees mingled in the lobby of San Francisco’s \u003ca href=\"http://www.sfwmpac.org/herbst-theatre\" rel=\"noopener\" target=\"_blank\">Herbst Theatre\u003c/a> before the Oct. 7 premiere of \u003ca href=\"https://sfperformances.org/performances/1718/KronosQuartet.html\" rel=\"noopener\" target=\"_blank\">\u003cem>Echoes\u003c/em>\u003c/a>, a new collaboration between spoken word poetry non-profit \u003ca href=\"http://youthspeaks.org/\" rel=\"noopener\" target=\"_blank\">Youth Speaks\u003c/a>, esteemed classical ensemble \u003ca href=\"http://www.kronosquartet.org/\" rel=\"noopener\" target=\"_blank\">Kronos Quartet\u003c/a>, and rock duo the \u003ca href=\"http://thelivingearthshow.com/\" rel=\"noopener\" target=\"_blank\">Living Earth Show\u003c/a>, directed by Sean San José of local theater troupe Campos Santos. As audience members waited for the theater doors to open, Youth Speaks poets suddenly burst into the crowd, bouncing around the marble hall and animatedly asking, “Where you from?”\u003c/p>\n\u003cp>Some people proudly shouted out their cities — Frisco, Richmond, Oakland — while others answered with more remote places like Omaha and Brooklyn. Although some audience members gladly played along, others visibly shifted in their seats when asked to call out their cities of origin. The night was, after all, billed as a performance about gentrification, and the poets’ seemingly innocuous question was also a loaded one.\u003c/p>\n\u003cfigure id=\"attachment_13811020\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/DSC_0302-800x634.jpg\" alt=\"Youth Speaks poets in the lobby of Herbst Theatre.\" width=\"800\" height=\"634\" class=\"size-medium wp-image-13811020\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0302.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0302-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0302-768x609.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0302-240x190.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0302-375x297.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0302-520x412.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Youth Speaks poets in the lobby of Herbst Theatre. \u003ccite>(Christian Jessen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This pre-show warm-up exercise illustrated the contrast between the young poets of color and the older, mostly white, well-to-do classical music audience presenter San Francisco Performances attracted. Set to the soundtrack of Kronos’ tense strings, much of Youth Speaks’ poetry was written in a sharp-tongued second person that implicated San Francisco’s well-meaning liberal elite in their complicity in gentrification and displacement — a cycle that has disenfranchised San Francisco’s immigrant communities and rendered its black population nearly nonexistent. \u003c/p>\n\u003cp>Here was a group of poets who came from the communities hit hardest by these forms of systemic inequality, bluntly addressing their struggles to an audience of gentrification’s beneficiaries. And yet, even though \u003cem>Echoes\u003c/em> confronted its audience with their place in this cycle, the show got a standing ovation — a hopeful sign that its urgent message was received.\u003c/p>\n\u003cfigure id=\"attachment_13811021\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/DSC_0034-800x583.jpg\" alt=\"Musicians from Kronos Quartet and the Living Earth Show. \" width=\"800\" height=\"583\" class=\"size-medium wp-image-13811021\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0034.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0034-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0034-768x560.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0034-240x175.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0034-375x273.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0034-520x379.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Musicians from Kronos Quartet and the Living Earth Show. \u003ccite>(Christian Jessen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Echoes\u003c/em> anchored around the poetry, with the music, written by composer Danny Clay, mostly serving to amp up its emotional impact. While the poets read heartfelt passages, Kronos Quartet played drawn-out, sorrowful minor chords, sometimes coming to an abrupt halt to make space for particularly impactful lines. In between poets, Kronos Quartet’s cellist, violist, and two violinists jammed out with Living Earth Show’s guitarist and percussionist, creating a heavy metal-chamber music fusion that underscored the anger, frustration, and pain the poets expressed. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Much of the poetry in \u003cem>Echoes\u003c/em> dealt with emotional connections to geography, mapping out the poets’ coming-of-age experiences in a rapidly changing San Francisco. Tassiana Willis, a standout performer with aqua-blue hair, traced the walk from the Banneker housing projects to Herbst Theatre. “Ain’t no love here, just concrete,” she sighed, lamenting that her hometown now feels unfamiliar because most of the people she grew up with are gone. \u003c/p>\n\u003cfigure id=\"attachment_13811022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/DSC_0089-800x529.jpg\" alt=\"Kronos Quartet's strings highlighted the emotional impact of Youth Speaks' poetry. \" width=\"800\" height=\"529\" class=\"size-medium wp-image-13811022\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0089.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0089-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0089-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0089-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0089-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0089-520x344.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kronos Quartet’s strings highlighted the emotional impact of Youth Speaks’ poetry. \u003ccite>(Christian Jessen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aimee Suzara, a Filipino-American poet, framed this experience of displacement in a broader context of colonialism: One of her most hard-hitting verses pointed out that immigrants fleeing poverty-stricken, colonized lands must now contend with a new breed of white settlers driving them out of their homes in San Francisco. \u003c/p>\n\u003cp>Meanwhile, Gabriel Cortez invoked the San Francisco War Memorial and Performing Arts Center — which houses Herbst Theatre — to address fallen soldiers and young lives lost to violence. “They say, ‘We give you our deaths, give them their meaning,’” he repeated, highlighting the importance of understanding and remembering history. \u003c/p>\n\u003cp>\u003cem>Echoes\u003c/em> was by all counts a tough pill to swallow, but the poets and musicians did a commendable job fusing their different mediums to create an emotionally impactful, timely, and original performance. And although a concert that combined spoken word poetry, rock, and chamber music might have seemed odd at a first glance, \u003cem>Echoes\u003c/em> did the important work of fostering a conversation across racial and class lines — one that rarely happens in an increasingly segregated Bay Area. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Attendees mingled in the lobby of San Francisco’s \u003ca href=\"http://www.sfwmpac.org/herbst-theatre\" rel=\"noopener\" target=\"_blank\">Herbst Theatre\u003c/a> before the Oct. 7 premiere of \u003ca href=\"https://sfperformances.org/performances/1718/KronosQuartet.html\" rel=\"noopener\" target=\"_blank\">\u003cem>Echoes\u003c/em>\u003c/a>, a new collaboration between spoken word poetry non-profit \u003ca href=\"http://youthspeaks.org/\" rel=\"noopener\" target=\"_blank\">Youth Speaks\u003c/a>, esteemed classical ensemble \u003ca href=\"http://www.kronosquartet.org/\" rel=\"noopener\" target=\"_blank\">Kronos Quartet\u003c/a>, and rock duo the \u003ca href=\"http://thelivingearthshow.com/\" rel=\"noopener\" target=\"_blank\">Living Earth Show\u003c/a>, directed by Sean San José of local theater troupe Campos Santos. As audience members waited for the theater doors to open, Youth Speaks poets suddenly burst into the crowd, bouncing around the marble hall and animatedly asking, “Where you from?”\u003c/p>\n\u003cp>Some people proudly shouted out their cities — Frisco, Richmond, Oakland — while others answered with more remote places like Omaha and Brooklyn. Although some audience members gladly played along, others visibly shifted in their seats when asked to call out their cities of origin. The night was, after all, billed as a performance about gentrification, and the poets’ seemingly innocuous question was also a loaded one.\u003c/p>\n\u003cfigure id=\"attachment_13811020\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/DSC_0302-800x634.jpg\" alt=\"Youth Speaks poets in the lobby of Herbst Theatre.\" width=\"800\" height=\"634\" class=\"size-medium wp-image-13811020\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0302.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0302-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0302-768x609.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0302-240x190.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0302-375x297.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0302-520x412.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Youth Speaks poets in the lobby of Herbst Theatre. \u003ccite>(Christian Jessen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This pre-show warm-up exercise illustrated the contrast between the young poets of color and the older, mostly white, well-to-do classical music audience presenter San Francisco Performances attracted. Set to the soundtrack of Kronos’ tense strings, much of Youth Speaks’ poetry was written in a sharp-tongued second person that implicated San Francisco’s well-meaning liberal elite in their complicity in gentrification and displacement — a cycle that has disenfranchised San Francisco’s immigrant communities and rendered its black population nearly nonexistent. \u003c/p>\n\u003cp>Here was a group of poets who came from the communities hit hardest by these forms of systemic inequality, bluntly addressing their struggles to an audience of gentrification’s beneficiaries. And yet, even though \u003cem>Echoes\u003c/em> confronted its audience with their place in this cycle, the show got a standing ovation — a hopeful sign that its urgent message was received.\u003c/p>\n\u003cfigure id=\"attachment_13811021\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/DSC_0034-800x583.jpg\" alt=\"Musicians from Kronos Quartet and the Living Earth Show. \" width=\"800\" height=\"583\" class=\"size-medium wp-image-13811021\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0034.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0034-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0034-768x560.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0034-240x175.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0034-375x273.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0034-520x379.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Musicians from Kronos Quartet and the Living Earth Show. \u003ccite>(Christian Jessen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Echoes\u003c/em> anchored around the poetry, with the music, written by composer Danny Clay, mostly serving to amp up its emotional impact. While the poets read heartfelt passages, Kronos Quartet played drawn-out, sorrowful minor chords, sometimes coming to an abrupt halt to make space for particularly impactful lines. In between poets, Kronos Quartet’s cellist, violist, and two violinists jammed out with Living Earth Show’s guitarist and percussionist, creating a heavy metal-chamber music fusion that underscored the anger, frustration, and pain the poets expressed. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Much of the poetry in \u003cem>Echoes\u003c/em> dealt with emotional connections to geography, mapping out the poets’ coming-of-age experiences in a rapidly changing San Francisco. Tassiana Willis, a standout performer with aqua-blue hair, traced the walk from the Banneker housing projects to Herbst Theatre. “Ain’t no love here, just concrete,” she sighed, lamenting that her hometown now feels unfamiliar because most of the people she grew up with are gone. \u003c/p>\n\u003cfigure id=\"attachment_13811022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/DSC_0089-800x529.jpg\" alt=\"Kronos Quartet's strings highlighted the emotional impact of Youth Speaks' poetry. \" width=\"800\" height=\"529\" class=\"size-medium wp-image-13811022\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0089.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0089-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0089-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0089-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0089-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/DSC_0089-520x344.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kronos Quartet’s strings highlighted the emotional impact of Youth Speaks’ poetry. \u003ccite>(Christian Jessen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aimee Suzara, a Filipino-American poet, framed this experience of displacement in a broader context of colonialism: One of her most hard-hitting verses pointed out that immigrants fleeing poverty-stricken, colonized lands must now contend with a new breed of white settlers driving them out of their homes in San Francisco. \u003c/p>\n\u003cp>Meanwhile, Gabriel Cortez invoked the San Francisco War Memorial and Performing Arts Center — which houses Herbst Theatre — to address fallen soldiers and young lives lost to violence. “They say, ‘We give you our deaths, give them their meaning,’” he repeated, highlighting the importance of understanding and remembering history. \u003c/p>\n\u003cp>\u003cem>Echoes\u003c/em> was by all counts a tough pill to swallow, but the poets and musicians did a commendable job fusing their different mediums to create an emotionally impactful, timely, and original performance. And although a concert that combined spoken word poetry, rock, and chamber music might have seemed odd at a first glance, \u003cem>Echoes\u003c/em> did the important work of fostering a conversation across racial and class lines — one that rarely happens in an increasingly segregated Bay Area. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SOLD OUT: Rethinking Housing in America",
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