Adizah Eghan is a former reporter at KQED News and writer for KQED Arts. She caught the radio bug as an intern for PRI's The World and landed in KQED's newsroom after a stint teaching English in India. She covers culture, the arts, and global music in the Bay Area. This is where she tweets: @Adizah_E
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"content": "\u003cp>\u003cem> In the 1960s, San Francisco was in the midst of a sexual revolution. Officials across the bay in Oakland wanted none of it. \u003ca href=\"http://ww2.kqed.org/news/series/baycurious\">Bay Curious\u003c/a> is a new podcast from KQED that answers your questions about the Bay Area.\u003c/em>\u003c/p>\n\u003cp>Listener Alicia Gallo was out with friends one night, and they couldn’t find any strip clubs to go to in the East Bay. She got to thinking, San Francisco has plenty of them. She remembers going to one in S.F. for a friend’s birthday party back in college. Stumped, she asked Bay Curious, “Why aren’t there any strip clubs in the East Bay?”\u003c/p>\n\u003cp>[baycuriouspodcastinfo]\u003c/p>\n\u003ch3>Are There Really None?\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">Like Alicia Gallo, I couldn’t find any strip clubs in the East Bay. But I did find strippers. After asking around a bit, I met an Oakland club promoter named Trina McQueen. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“When I came to Oakland there was no strip clubs,” McQueen says. “So my girlfriend and I and all of her friends brought it to Oakland. That was in 1991. And it shot off the roof.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">McQueen’s dancers work at Club BNB, an LGBT bar in downtown Oakland. They dance and strip — but not all the way.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11048013\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11048013 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/RS20483_160729_CLUBNBDancers_bhs02-800x533.jpg\" alt=\"Promoter Trina McQueen emcees on stage at Club BnB while her dancers perform.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20483_160729_CLUBNBDancers_bhs02-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20483_160729_CLUBNBDancers_bhs02-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20483_160729_CLUBNBDancers_bhs02.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20483_160729_CLUBNBDancers_bhs02-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20483_160729_CLUBNBDancers_bhs02-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Promoter Trina McQueen emcees onstage at Club BNB while her dancers perform. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s a reason her dancers don’t disrobe beyond their pasties and G-strings. It’s against the law for dancers to go nude in Oakland, or anywhere in Alameda County.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My show is not a nude show,” McQueen says.\u003c/span>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/302386770″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003ch3>‘No Breasts or Private Parts’\u003c/h3>\n\u003cp>According to \u003ca href=\"https://www2.municode.com/library/ca/oakland/codes/code_of_ordinances?nodeId=TIT9PUPEMOWE_CH9.28NUDA\">Chapter 9.28 of the Oakland Municipal Code\u003c/a>, it’s a misdemeanor for women to expose their breasts “while participating in any live act, demonstration, or exhibition in any public place.” Even simulating that nipple with a pasty is questionable.\u003c/p>\n\u003cblockquote>\u003cp>Every female is guilty of a misdemeanor who, while participating in any live act, demonstration, or exhibition in any public place, place open to the public, or place open to public view, or while serving food or drink or both to any customer:\u003c/p>\n\u003cp>A. Exposes any portion of either breast below a straight line so drawn that both nipples and all portions of both breasts which have a different pigmentation than that of the main portion of the breasts are below such straight line; or\u003c/p>\n\u003cp>B. Employs any device or covering which is intended to simulate such portions of the breast below such line; or\u003c/p>\n\u003cp>C. Wears any type of clothing so that any portion of such part of the breast may be observed.\u003c/p>\u003c/blockquote>\n\u003cp>Another section \u003ca href=\"https://www2.municode.com/library/ca/oakland/codes/code_of_ordinances?nodeId=TIT9PUPEMOWE_CH9.28NUDA_9.28.040PRAGDIPRPA\">prohibits the display of “private parts”\u003c/a> for women or men.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Oakland City Council passed this ordinance in 1970. But why? For the answer, you need to cross the Bay to San Francisco, where commercial sex was booming, says \u003c/span>\u003cspan style=\"font-weight: 400\">Josh Sides, the Whitsett Professor of California History at Cal State Northridge.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11048059\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-large wp-image-11048059\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/RS20385_160721_condorplaque_bhs02-qut-1-1920x1280.jpg\" alt=\"A plaque hangs outside the Condor Club in San Francisco.\" width=\"640\" height=\"427\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20385_160721_condorplaque_bhs02-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20385_160721_condorplaque_bhs02-qut-1-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20385_160721_condorplaque_bhs02-qut-1-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20385_160721_condorplaque_bhs02-qut-1-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20385_160721_condorplaque_bhs02-qut-1-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A plaque hangs outside the Condor Club in San Francisco’s North Beach. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Carol Doda Goes Topless For the First Time\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the 1960s, people watched dancers perform in pasties and swimsuits at go-go bars on Broadway in North Beach.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On June 19, 1964, at the Condor Club, a cocktail waitress named Carol Doda tossed aside her pasties and did The Swim dance in a topless monokini.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11034913\" class=\"wp-caption alignleft\" style=\"max-width: 266px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11034913 \" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/Doda-e1469758914511-400x396.jpg\" alt=\"Carol Doda acquitted on indecency charge, 1965. \" width=\"266\" height=\"263\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/Doda-e1469758914511-400x396.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/Doda-e1469758914511-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/Doda-e1469758914511-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/Doda-e1469758914511-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/Doda-e1469758914511-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/Doda-e1469758914511-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/Doda-e1469758914511.jpg 561w\" sizes=\"(max-width: 266px) 100vw, 266px\">\u003cfigcaption class=\"wp-caption-text\">Carol Doda acquitted on indecency charge, 1965. \u003ccite>(United Press International)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Doda, who’s \u003c/span>\u003ca href=\"http://ww2.kqed.org/news/2015/11/11/legendary-san-francisco-stripper-carol-doda-dies/\">\u003cspan style=\"font-weight: 400\">now deceased\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, said in a 1997 KRON-TV \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/227176\" target=\"_blank\" rel=\"noopener\">documentary \u003c/a>that the audience was captivated.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“They were lined up around the corner. It’s like they had never seen bare breasts before in their lives,” she said. Baring her nipples was a big deal, she added — “the greatest thing since sliced bread.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Doda’s dance sparked a sexual revolution of its own. There was an explosion of adult bookstores, erotic massage parlors and porn theaters, particularly in the North Beach and Tenderloin neighborhoods.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sides says San Francisco went from having no topless clubs in 1964 to having about 40 within a year.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“San Francisco became the sort of example that every city wanted to avoid,” he said.\u003c/span>\u003c/p>\n\u003ch3>The Smut Capital of America\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">In 1969, local and state lawmakers started to crack down on obscenity and indecency. Dianne Feinstein was running for the San Francisco Board of Supervisors that year, and she pointed to “the growth of obscenity” as one of the things ruining the city.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11034916\" class=\"wp-caption alignleft\" style=\"max-width: 243px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\" wp-image-11034916\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20464_Topless-qut-e1469757250357-400x703.jpg\" alt=\"An ad for a topless bar in the Oakland Tribune during the topless and bottomless craze in 1969.\" width=\"243\" height=\"427\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20464_Topless-qut-e1469757250357-400x703.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20464_Topless-qut-e1469757250357-800x1407.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20464_Topless-qut-e1469757250357.jpg 816w\" sizes=\"(max-width: 243px) 100vw, 243px\">\u003cfigcaption class=\"wp-caption-text\">An ad for a topless bar in the Oakland Tribune during the topless and bottomless craze in 1969. \u003ccite>(Oakland Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">In September 1969, Gov. Ronald Reagan signed the \u003ca href=\"http://codes.findlaw.com/ca/penal-code/pen-sect-318-5.html\" target=\"_blank\" rel=\"noopener\">Quimby-Walsh Act.\u003c/a> The law allowed cities and counties to regulate how waiters, waitresses and entertainers dress in bars and restaurants.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On Jan. 22, 1970, Oakland passed an ordinance prohibiting “exposure of portions of the human body in specified places.” City officials had been waiting for Reagan to sign the Quimby-Walsh Act so they could stifle the topless — and emerging bottomless — craze.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To this day, that ordinance is what keeps strip clubs out of Oakland.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We get quite a bit of interest of individuals wanting to start strip clubs in Oakland, but unfortunately the city’s policies and regulations don’t allow that at this time,” says Juno Thomas, Small Business Assistance Center coordinator for the Oakland Economic and Workforce Development Department.\u003c/span>\u003c/p>\n\u003ch3>We Don’t Want You Here!\u003c/h3>\n\u003cp>The ban over all of Alameda County means there’s also no legal strip clubs in cities like Hayward, Emeryville or Berkeley.\u003c/p>\n\u003cp>Other cities in the East Bay use zoning rules to discourage strip clubs and restrict where they try to open. That’s how it’s done in Contra Costa County — home to the cities of Richmond and Walnut Creek. In fact, zoning is the most common way municipalities deal with strip clubs.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As for McQueen, she’s hoping Oakland will change its rules to match San Francisco.\u003c/span>\u003c/p>\n\u003cp>[baycuriousbug]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I don’t feel like my dancers that live in Oakland need to go make their money in San Francisco,” McQueen says. “I just feel like they need to be able to make their money where they live.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For now, she’ll just keep doing her thing — pasties and G-strings — in Oakland.\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Got a question you want to see the \u003ca href=\"http://ww2.kqed.org/news/series/baycurious\">Bay Curious\u003c/a> team take on? Submit it!\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem> In the 1960s, San Francisco was in the midst of a sexual revolution. Officials across the bay in Oakland wanted none of it. \u003ca href=\"http://ww2.kqed.org/news/series/baycurious\">Bay Curious\u003c/a> is a new podcast from KQED that answers your questions about the Bay Area.\u003c/em>\u003c/p>\n\u003cp>Listener Alicia Gallo was out with friends one night, and they couldn’t find any strip clubs to go to in the East Bay. She got to thinking, San Francisco has plenty of them. She remembers going to one in S.F. for a friend’s birthday party back in college. Stumped, she asked Bay Curious, “Why aren’t there any strip clubs in the East Bay?”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" loading=\"lazy\" />\n \u003ca href=\"/news/series/baycurious\">Bay Curious\u003c/a> is a podcast that answers your questions about the Bay Area.\n Subscribe on \u003ca href=\"https://itunes.apple.com/us/podcast/bay-curious/id1172473406\" target=\"_blank\" rel=\"noopener noreferrer\">Apple Podcasts\u003c/a>,\n \u003ca href=\"http://www.npr.org/podcasts/500557090/bay-curious\" target=\"_blank\" rel=\"noopener noreferrer\">NPR One\u003c/a> or your favorite podcast platform.\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003ch3>Are There Really None?\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">Like Alicia Gallo, I couldn’t find any strip clubs in the East Bay. But I did find strippers. After asking around a bit, I met an Oakland club promoter named Trina McQueen. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“When I came to Oakland there was no strip clubs,” McQueen says. “So my girlfriend and I and all of her friends brought it to Oakland. That was in 1991. And it shot off the roof.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">McQueen’s dancers work at Club BNB, an LGBT bar in downtown Oakland. They dance and strip — but not all the way.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11048013\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11048013 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/RS20483_160729_CLUBNBDancers_bhs02-800x533.jpg\" alt=\"Promoter Trina McQueen emcees on stage at Club BnB while her dancers perform.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20483_160729_CLUBNBDancers_bhs02-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20483_160729_CLUBNBDancers_bhs02-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20483_160729_CLUBNBDancers_bhs02.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20483_160729_CLUBNBDancers_bhs02-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20483_160729_CLUBNBDancers_bhs02-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Promoter Trina McQueen emcees onstage at Club BNB while her dancers perform. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s a reason her dancers don’t disrobe beyond their pasties and G-strings. It’s against the law for dancers to go nude in Oakland, or anywhere in Alameda County.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My show is not a nude show,” McQueen says.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/302386770″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/302386770″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003ch3>‘No Breasts or Private Parts’\u003c/h3>\n\u003cp>According to \u003ca href=\"https://www2.municode.com/library/ca/oakland/codes/code_of_ordinances?nodeId=TIT9PUPEMOWE_CH9.28NUDA\">Chapter 9.28 of the Oakland Municipal Code\u003c/a>, it’s a misdemeanor for women to expose their breasts “while participating in any live act, demonstration, or exhibition in any public place.” Even simulating that nipple with a pasty is questionable.\u003c/p>\n\u003cblockquote>\u003cp>Every female is guilty of a misdemeanor who, while participating in any live act, demonstration, or exhibition in any public place, place open to the public, or place open to public view, or while serving food or drink or both to any customer:\u003c/p>\n\u003cp>A. Exposes any portion of either breast below a straight line so drawn that both nipples and all portions of both breasts which have a different pigmentation than that of the main portion of the breasts are below such straight line; or\u003c/p>\n\u003cp>B. Employs any device or covering which is intended to simulate such portions of the breast below such line; or\u003c/p>\n\u003cp>C. Wears any type of clothing so that any portion of such part of the breast may be observed.\u003c/p>\u003c/blockquote>\n\u003cp>Another section \u003ca href=\"https://www2.municode.com/library/ca/oakland/codes/code_of_ordinances?nodeId=TIT9PUPEMOWE_CH9.28NUDA_9.28.040PRAGDIPRPA\">prohibits the display of “private parts”\u003c/a> for women or men.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Oakland City Council passed this ordinance in 1970. But why? For the answer, you need to cross the Bay to San Francisco, where commercial sex was booming, says \u003c/span>\u003cspan style=\"font-weight: 400\">Josh Sides, the Whitsett Professor of California History at Cal State Northridge.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11048059\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-large wp-image-11048059\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/08/RS20385_160721_condorplaque_bhs02-qut-1-1920x1280.jpg\" alt=\"A plaque hangs outside the Condor Club in San Francisco.\" width=\"640\" height=\"427\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20385_160721_condorplaque_bhs02-qut-1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20385_160721_condorplaque_bhs02-qut-1-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20385_160721_condorplaque_bhs02-qut-1-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20385_160721_condorplaque_bhs02-qut-1-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/08/RS20385_160721_condorplaque_bhs02-qut-1-960x640.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A plaque hangs outside the Condor Club in San Francisco’s North Beach. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Carol Doda Goes Topless For the First Time\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the 1960s, people watched dancers perform in pasties and swimsuits at go-go bars on Broadway in North Beach.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On June 19, 1964, at the Condor Club, a cocktail waitress named Carol Doda tossed aside her pasties and did The Swim dance in a topless monokini.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11034913\" class=\"wp-caption alignleft\" style=\"max-width: 266px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11034913 \" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/Doda-e1469758914511-400x396.jpg\" alt=\"Carol Doda acquitted on indecency charge, 1965. \" width=\"266\" height=\"263\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/Doda-e1469758914511-400x396.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/Doda-e1469758914511-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/Doda-e1469758914511-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/Doda-e1469758914511-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/Doda-e1469758914511-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/Doda-e1469758914511-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/Doda-e1469758914511.jpg 561w\" sizes=\"(max-width: 266px) 100vw, 266px\">\u003cfigcaption class=\"wp-caption-text\">Carol Doda acquitted on indecency charge, 1965. \u003ccite>(United Press International)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Doda, who’s \u003c/span>\u003ca href=\"http://ww2.kqed.org/news/2015/11/11/legendary-san-francisco-stripper-carol-doda-dies/\">\u003cspan style=\"font-weight: 400\">now deceased\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, said in a 1997 KRON-TV \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/227176\" target=\"_blank\" rel=\"noopener\">documentary \u003c/a>that the audience was captivated.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“They were lined up around the corner. It’s like they had never seen bare breasts before in their lives,” she said. Baring her nipples was a big deal, she added — “the greatest thing since sliced bread.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Doda’s dance sparked a sexual revolution of its own. There was an explosion of adult bookstores, erotic massage parlors and porn theaters, particularly in the North Beach and Tenderloin neighborhoods.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Sides says San Francisco went from having no topless clubs in 1964 to having about 40 within a year.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“San Francisco became the sort of example that every city wanted to avoid,” he said.\u003c/span>\u003c/p>\n\u003ch3>The Smut Capital of America\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">In 1969, local and state lawmakers started to crack down on obscenity and indecency. Dianne Feinstein was running for the San Francisco Board of Supervisors that year, and she pointed to “the growth of obscenity” as one of the things ruining the city.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11034916\" class=\"wp-caption alignleft\" style=\"max-width: 243px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\" wp-image-11034916\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/RS20464_Topless-qut-e1469757250357-400x703.jpg\" alt=\"An ad for a topless bar in the Oakland Tribune during the topless and bottomless craze in 1969.\" width=\"243\" height=\"427\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20464_Topless-qut-e1469757250357-400x703.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20464_Topless-qut-e1469757250357-800x1407.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/RS20464_Topless-qut-e1469757250357.jpg 816w\" sizes=\"(max-width: 243px) 100vw, 243px\">\u003cfigcaption class=\"wp-caption-text\">An ad for a topless bar in the Oakland Tribune during the topless and bottomless craze in 1969. \u003ccite>(Oakland Public Library)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">In September 1969, Gov. Ronald Reagan signed the \u003ca href=\"http://codes.findlaw.com/ca/penal-code/pen-sect-318-5.html\" target=\"_blank\" rel=\"noopener\">Quimby-Walsh Act.\u003c/a> The law allowed cities and counties to regulate how waiters, waitresses and entertainers dress in bars and restaurants.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On Jan. 22, 1970, Oakland passed an ordinance prohibiting “exposure of portions of the human body in specified places.” City officials had been waiting for Reagan to sign the Quimby-Walsh Act so they could stifle the topless — and emerging bottomless — craze.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To this day, that ordinance is what keeps strip clubs out of Oakland.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We get quite a bit of interest of individuals wanting to start strip clubs in Oakland, but unfortunately the city’s policies and regulations don’t allow that at this time,” says Juno Thomas, Small Business Assistance Center coordinator for the Oakland Economic and Workforce Development Department.\u003c/span>\u003c/p>\n\u003ch3>We Don’t Want You Here!\u003c/h3>\n\u003cp>The ban over all of Alameda County means there’s also no legal strip clubs in cities like Hayward, Emeryville or Berkeley.\u003c/p>\n\u003cp>Other cities in the East Bay use zoning rules to discourage strip clubs and restrict where they try to open. That’s how it’s done in Contra Costa County — home to the cities of Richmond and Walnut Creek. In fact, zoning is the most common way municipalities deal with strip clubs.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As for McQueen, she’s hoping Oakland will change its rules to match San Francisco.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" loading=\"lazy\" />\n What do you wonder about the Bay Area, its culture or people that you want KQED to investigate?\n \u003ca href=\"/news/series/baycurious\">Ask Bay Curious.\u003c/a>\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I don’t feel like my dancers that live in Oakland need to go make their money in San Francisco,” McQueen says. “I just feel like they need to be able to make their money where they live.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For now, she’ll just keep doing her thing — pasties and G-strings — in Oakland.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "the-origins-of-hella",
"title": "The Origins of 'Hella'",
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"headTitle": "The Origins of ‘Hella’ | KQED",
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"content": "\u003cp>Long associated with the Bay Area, the word ‘hella’ has gained widespread use. But how was the word born? Ventura Albor asked \u003ca href=\"https://www.kqed.org/news/series/baycurious\" rel=\"noopener noreferrer\" target=\"_blank\">Bay Curious\u003c/a>:\u003c/p>\n\u003cp>\u003cstrong>How is it that “hella” became synonymous with the Bay?\u003c/strong>\u003c/p>\n\u003cp>Ventura’s question was inspired by his college days at UC Davis.\u003c/p>\n\u003cfigure id=\"attachment_11178097\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11178097\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-800x533.jpg\" alt=\"A UC Berkeley student poses for photos wearing a 'Hella Kitty' shirt from Pure 510, a local custom t-shirt business in Oakland, California.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A UC Berkeley student poses for photos wearing a ‘Hella Kitty’ shirt from Pure 510, a local custom t-shirt business in Oakland, California. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“L.A. folks would [home] in on it right away and be like, ‘Oh you’re from the Bay Area?’ ” he says. “I never really thought of it, I just thought everyone said hella.” \u003c/p>\n\u003ch3>Hella: A Linguistic Boundary\u003c/h3>\n\u003cp>Many Bay Area residents and Californians believe that hella — and its G-rated equivalent “hecka” — are Bay Area slang. The words, which mean “very” or “a lot of,” can be used multiple ways. You can say “I’m hella stoked” or “There were hella people at that party last night,” or even, “I was doing it for hella days.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mary Bucholtz, a linguist at the University of California, Santa Barbara, conducted a study in which people indicated their perceptions of how people talk in certain areas of California.\u003c/p>\n\u003caside class=\"alignleft\">\n\u003ch3>A Guide to Bay Area Slang\u003c/h3>\n\u003cp>\u003cstrong>Hella\u003c/strong> – very, really, extremely; many, a lot; in an extraordinary or impressive manner.\u003cbr>\n\u003cem>“That jacket’s hella dope!”\u003c/em>\u003cbr>\n\u003cstrong>Hyphy\u003c/strong> – hyper, excited\u003cbr>\n\u003cem>“I’m from the Bay where we hyphy and go dumb. From the soil where them rappers be getting their lingo from.” – E-40\u003c/em>\u003cbr>\n\u003cstrong>Off the chain\u003c/strong> – super fun, exciting, great\u003cbr>\n\u003cem>“This party tonight’s gonna be off the chain!”\u003c/em>\u003cbr>\n\u003cstrong>Fa sheezy/fo shizzle\u003c/strong> – for sure\u003cbr>\n\u003cem>“Saturday is off the heezy fo’sheezy.” – Jermaine Dupri\u003c/em>\u003cbr>\n\u003cstrong>Janky\u003c/strong> – poor quality, inferior, weird\u003cbr>\n\u003cem>“Ugh, this umbrella is hella janky.”\u003c/em>\u003cbr>\n\u003cstrong>Baller\u003c/strong> (n)/\u003cstrong>ballin’\u003c/strong> (v) – a ball player, or someone who’s winning “the game” (of life).\u003cbr>\n\u003cem>“Wanna be a baller, shot caller, 20-inch blades on the impala” – Lil’ Troy\u003c/em>\u003c/p>\n\u003c/aside>\n\u003cp>Hella was the most frequently cited word, and 78.4 percent of the people who mentioned it in the study said it was Northern California slang.\u003c/p>\n\u003cp>“For Southern Californians in particular, hella represents a crucial shibboleth separating the two major regions of the state,” says Bucholtz.\u003c/p>\n\u003cp>That’s true for Southern California transplant Bree DeRobbio, now living in San Jose. She remembers the first time she heard someone say hella.\u003c/p>\n\u003cp>“My reaction was ‘Oh my God, they really do say it.’ And I was amazed at all the different applications the word has,” she says.\u003c/p>\n\u003ch3>The Dictionary Says WHAT?\u003c/h3>\n\u003cp>There are at least two origin stories for hella: One places it in Toronto (yes, Canada) and the other in Oakland.\u003c/p>\n\u003cp>More on Oakland later, but first — Toronto? I mean, really?\u003c/p>\n\u003cp>Hella made its first appearance in the Oxford English Dictionary in 2002, and the dictionary says the word was first used in a 1987 article in the Toronto Star:\u003c/p>\n\u003cblockquote>\u003cp>“The horse went hella whoopin’ down the trail, trailing 50 feet or more of the best Berkley Trilene Monofilament line.”\u003c/p>\u003c/blockquote>\n\u003cp>(Sidenote: That part about the best Berkley Trilene Monofilament line refers to a type of fishing line — no relation to Berkeley, Calif.)\u003c/p>\n\u003cp>[baycuriousbug]\u003c/p>\n\u003cp>In fact, hella is identified as Northern American slang that was probably shortened from “helluva” or “hellacious.” But English-language historian Michael Adams says hella’s grammatical usage doesn’t quite align with what the Oxford English Dictionary says.\u003c/p>\n\u003cp>“I’m really skeptical of that etymology that hella comes from helluva because we don’t use hella grammatically in the same way that we would use helluva,” Adams says.\u003c/p>\n\u003cp>What Adams means is you can’t get “hella cute” from “helluva cute,” or say, “My dad’s a hella cook,” even though you could say, “My dad’s a helluva cook.”\u003c/p>\n\u003cp>He also has an explanation for why hella didn’t come from hellacious.\u003c/p>\n\u003cfigure id=\"attachment_10649553\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10649553\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut-800x532.jpg\" alt=\"Someone turned Fell Street in San Francisco into Hella Street. (kyle rw/Flickr)\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut-1440x958.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Someone turned Fell Street in San Francisco into Hella Street. (kyle rw/Flickr)\u003c/figcaption>\u003c/figure>\n\u003cp>“The suffix from hellacious is ‘—acious,’ like tenacious, and if you’re going to break a word, you’re usually going to break a word where there’s a boundary between its parts,” Adams says.\u003c/p>\n\u003cp>According to this theory, the natural break for hellacious would make it “hell-aysh,” not hella.\u003c/p>\n\u003ch3>From Oakland Teens to the Rest of the World\u003c/h3>\n\u003cp>UC Berkeley linguist Geoff Nunberg traces hella back a few more years, to Oakland, from two early citations in a 1987 \u003ca href=\"https://books.google.com/books?id=k-NIAQAAMAAJ&q=Second+Class+Finish:+The+Effects+of+Rituals+and+Routines+of+a+Working-class+High+School,+Volume+2&dq=Second+Class+Finish:+The+Effects+of+Rituals+and+Routines+of+a+Working-class+High+School,+Volume+2&hl=en&sa=X&ved=0CB4Q6AEwAGoVChMI6OGT39u2xwIVUFaICh3jbQDI\" target=\"_blank\" rel=\"noopener noreferrer\">dissertation\u003c/a> of a Berkeley student.\u003c/p>\n\u003cfigure id=\"attachment_10650083\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10650083 size-large\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut-1440x1080.jpg\" alt=\"Some in Oakland have embraced the word. Mayor Libby Schaaf often used it while campaigning, saying 'I hella love Oakland' and 'It is hella time for leadership in Oakland.'\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Some in Oakland have embraced the word. Mayor Libby Schaaf often used it while campaigning, saying ‘I hella love Oakland’ and ‘It is hella time for leadership in Oakland.’ \u003ccite>(cplbasilisk/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Hella emerged somewhere in Northern California around the late 1970s, and although it spread to other places, it’s still associated with this region,” says Nunberg.\u003c/p>\n\u003cp>Historically, slang spreads from black English to white English and not in the other direction, which is why Nunberg says he suspects it started in Oakland.\u003c/p>\n\u003cp>Phrases like “cool” and “tell it like it is” are good examples.\u003c/p>\n\u003cp>“ ‘Cool’ was adopted by white hipsters and beatniks in the early ‘50s before spreading to teen slang. ‘Tell it like it is’ was used by black writers in the early ’60s and quickly became part of general white English,” he says.[aside tag='bay-curious' label='Looking for More Bay Curious?']\u003c/p>\n\u003cp>That lines up with what multimedia producer Sean Kennedy, an Oakland native, recalls.\u003c/p>\n\u003cp>He remembers saying hella with the kids on his Pop Warner football team and at King Estates Junior High School in the late ’70s.\u003c/p>\n\u003cp>“Very rarely in the African-American or black community do we pick up other people’s language and use them,” he says. “It’s usually the language we create and other people use them.”\u003c/p>\n\u003cp>At that time, hip-hop and street culture gained widespread popularity.\u003c/p>\n\u003cp>“It was used in a manner of explaining, ‘That looked hella good— that looked good’—something that was clean, or somebody acting crazy, ‘You’re hella crazy,’ ” Kennedy says.\u003c/p>\n\u003ch3>Bay Area Punks Debate Hella Vs. Hell Of\u003c/h3>\n\u003caside class=\"alignright\">\n\u003ch3>“Hell of Dumb” by the Mr. T. Experience\u003c/h3>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"369\" height=\"277\" src=\"https://www.youtube.com/embed/-R_TW_ZqHw4\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003c/aside>\n\u003cp>In early years, Bay Area youth debated whether the slang word was hella or actually “hell of.”\u003c/p>\n\u003cp>In Berkeley, the debate could get quite heated, says punk rocker Frank Portman. In 1997, he wrote a song called “Hell of Dumb,” poking fun at the issue with his band the Mr. T. Experience. He thinks the hella vs. hell of debate goes back to 1983.\u003c/p>\n\u003cp>“It was always very clear that it was hell of. It was not hella and if anyone ever said hella, which sometimes people did, they would always correct you with the attitude of a school marm correcting your grammar,” Portman says.\u003c/p>\n\u003ch3>Hella Now\u003c/h3>\n\u003cp>Since those early days, widespread use of hell of, hellacious and helluva has dwindled — leaving hella to stand alone.\u003c/p>\n\u003caside class=\"alignleft\">\n\u003ch3>Cartman uses hella in South Park\u003c/h3>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"369\" height=\"208\" src=\"https://www.youtube.com/embed/7pohEb7DUac\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003c/aside>\n\u003cp>Hella got a national audience in the South Park episode “Spookyfish,” from the second season.\u003c/p>\n\u003cp>Cartman taunts Stan and Kyle by singing, “You guys are hella stupid, you guys are hella lame, you guys are hella dumb hella, hella, hella.”\u003c/p>\n\u003cp>The word may be one of Northern California’s most notorious cultural exports.\u003c/p>\n\u003cp>You’re welcome, world.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Got a question you want to see the Bay Curious team take on? \u003ca href=\"http://ww2.kqed.org/news/series/baycurious\" target=\"_blank\" rel=\"noopener noreferrer\">Submit it!\u003c/a> Be sure to subscribe on \u003ca href=\"https://itunes.apple.com/us/podcast/bay-curious/id1172473406\" target=\"_blank\" rel=\"noopener noreferrer\">iTunes\u003c/a>, \u003ca href=\"https://play.google.com/music/listen?u=0#/ps/Ipi2mc5aqfen4nr2daayiziiyuy\">Google Play\u003c/a> or \u003ca href=\"http://www.npr.org/podcasts/500557090/bay-curious\">NPR One\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Long associated with the Bay Area, the word ‘hella’ has gained widespread use. But how was the word born? Ventura Albor asked \u003ca href=\"https://www.kqed.org/news/series/baycurious\" rel=\"noopener noreferrer\" target=\"_blank\">Bay Curious\u003c/a>:\u003c/p>\n\u003cp>\u003cstrong>How is it that “hella” became synonymous with the Bay?\u003c/strong>\u003c/p>\n\u003cp>Ventura’s question was inspired by his college days at UC Davis.\u003c/p>\n\u003cfigure id=\"attachment_11178097\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11178097\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-800x533.jpg\" alt=\"A UC Berkeley student poses for photos wearing a 'Hella Kitty' shirt from Pure 510, a local custom t-shirt business in Oakland, California.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS21661_161026_HellaShirt_bhs02-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A UC Berkeley student poses for photos wearing a ‘Hella Kitty’ shirt from Pure 510, a local custom t-shirt business in Oakland, California. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“L.A. folks would [home] in on it right away and be like, ‘Oh you’re from the Bay Area?’ ” he says. “I never really thought of it, I just thought everyone said hella.” \u003c/p>\n\u003ch3>Hella: A Linguistic Boundary\u003c/h3>\n\u003cp>Many Bay Area residents and Californians believe that hella — and its G-rated equivalent “hecka” — are Bay Area slang. The words, which mean “very” or “a lot of,” can be used multiple ways. You can say “I’m hella stoked” or “There were hella people at that party last night,” or even, “I was doing it for hella days.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mary Bucholtz, a linguist at the University of California, Santa Barbara, conducted a study in which people indicated their perceptions of how people talk in certain areas of California.\u003c/p>\n\u003caside class=\"alignleft\">\n\u003ch3>A Guide to Bay Area Slang\u003c/h3>\n\u003cp>\u003cstrong>Hella\u003c/strong> – very, really, extremely; many, a lot; in an extraordinary or impressive manner.\u003cbr>\n\u003cem>“That jacket’s hella dope!”\u003c/em>\u003cbr>\n\u003cstrong>Hyphy\u003c/strong> – hyper, excited\u003cbr>\n\u003cem>“I’m from the Bay where we hyphy and go dumb. From the soil where them rappers be getting their lingo from.” – E-40\u003c/em>\u003cbr>\n\u003cstrong>Off the chain\u003c/strong> – super fun, exciting, great\u003cbr>\n\u003cem>“This party tonight’s gonna be off the chain!”\u003c/em>\u003cbr>\n\u003cstrong>Fa sheezy/fo shizzle\u003c/strong> – for sure\u003cbr>\n\u003cem>“Saturday is off the heezy fo’sheezy.” – Jermaine Dupri\u003c/em>\u003cbr>\n\u003cstrong>Janky\u003c/strong> – poor quality, inferior, weird\u003cbr>\n\u003cem>“Ugh, this umbrella is hella janky.”\u003c/em>\u003cbr>\n\u003cstrong>Baller\u003c/strong> (n)/\u003cstrong>ballin’\u003c/strong> (v) – a ball player, or someone who’s winning “the game” (of life).\u003cbr>\n\u003cem>“Wanna be a baller, shot caller, 20-inch blades on the impala” – Lil’ Troy\u003c/em>\u003c/p>\n\u003c/aside>\n\u003cp>Hella was the most frequently cited word, and 78.4 percent of the people who mentioned it in the study said it was Northern California slang.\u003c/p>\n\u003cp>“For Southern Californians in particular, hella represents a crucial shibboleth separating the two major regions of the state,” says Bucholtz.\u003c/p>\n\u003cp>That’s true for Southern California transplant Bree DeRobbio, now living in San Jose. She remembers the first time she heard someone say hella.\u003c/p>\n\u003cp>“My reaction was ‘Oh my God, they really do say it.’ And I was amazed at all the different applications the word has,” she says.\u003c/p>\n\u003ch3>The Dictionary Says WHAT?\u003c/h3>\n\u003cp>There are at least two origin stories for hella: One places it in Toronto (yes, Canada) and the other in Oakland.\u003c/p>\n\u003cp>More on Oakland later, but first — Toronto? I mean, really?\u003c/p>\n\u003cp>Hella made its first appearance in the Oxford English Dictionary in 2002, and the dictionary says the word was first used in a 1987 article in the Toronto Star:\u003c/p>\n\u003cblockquote>\u003cp>“The horse went hella whoopin’ down the trail, trailing 50 feet or more of the best Berkley Trilene Monofilament line.”\u003c/p>\u003c/blockquote>\n\u003cp>(Sidenote: That part about the best Berkley Trilene Monofilament line refers to a type of fishing line — no relation to Berkeley, Calif.)\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" loading=\"lazy\" />\n What do you wonder about the Bay Area, its culture or people that you want KQED to investigate?\n \u003ca href=\"/news/series/baycurious\">Ask Bay Curious.\u003c/a>\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In fact, hella is identified as Northern American slang that was probably shortened from “helluva” or “hellacious.” But English-language historian Michael Adams says hella’s grammatical usage doesn’t quite align with what the Oxford English Dictionary says.\u003c/p>\n\u003cp>“I’m really skeptical of that etymology that hella comes from helluva because we don’t use hella grammatically in the same way that we would use helluva,” Adams says.\u003c/p>\n\u003cp>What Adams means is you can’t get “hella cute” from “helluva cute,” or say, “My dad’s a hella cook,” even though you could say, “My dad’s a helluva cook.”\u003c/p>\n\u003cp>He also has an explanation for why hella didn’t come from hellacious.\u003c/p>\n\u003cfigure id=\"attachment_10649553\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10649553\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut-800x532.jpg\" alt=\"Someone turned Fell Street in San Francisco into Hella Street. (kyle rw/Flickr)\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut-1440x958.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16365_223475127_786d4ee142_o-qut-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Someone turned Fell Street in San Francisco into Hella Street. (kyle rw/Flickr)\u003c/figcaption>\u003c/figure>\n\u003cp>“The suffix from hellacious is ‘—acious,’ like tenacious, and if you’re going to break a word, you’re usually going to break a word where there’s a boundary between its parts,” Adams says.\u003c/p>\n\u003cp>According to this theory, the natural break for hellacious would make it “hell-aysh,” not hella.\u003c/p>\n\u003ch3>From Oakland Teens to the Rest of the World\u003c/h3>\n\u003cp>UC Berkeley linguist Geoff Nunberg traces hella back a few more years, to Oakland, from two early citations in a 1987 \u003ca href=\"https://books.google.com/books?id=k-NIAQAAMAAJ&q=Second+Class+Finish:+The+Effects+of+Rituals+and+Routines+of+a+Working-class+High+School,+Volume+2&dq=Second+Class+Finish:+The+Effects+of+Rituals+and+Routines+of+a+Working-class+High+School,+Volume+2&hl=en&sa=X&ved=0CB4Q6AEwAGoVChMI6OGT39u2xwIVUFaICh3jbQDI\" target=\"_blank\" rel=\"noopener noreferrer\">dissertation\u003c/a> of a Berkeley student.\u003c/p>\n\u003cfigure id=\"attachment_10650083\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10650083 size-large\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut-1440x1080.jpg\" alt=\"Some in Oakland have embraced the word. Mayor Libby Schaaf often used it while campaigning, saying 'I hella love Oakland' and 'It is hella time for leadership in Oakland.'\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut-1440x1080.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16362_6312711130_5e7518b922_o-qut-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Some in Oakland have embraced the word. Mayor Libby Schaaf often used it while campaigning, saying ‘I hella love Oakland’ and ‘It is hella time for leadership in Oakland.’ \u003ccite>(cplbasilisk/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Hella emerged somewhere in Northern California around the late 1970s, and although it spread to other places, it’s still associated with this region,” says Nunberg.\u003c/p>\n\u003cp>Historically, slang spreads from black English to white English and not in the other direction, which is why Nunberg says he suspects it started in Oakland.\u003c/p>\n\u003cp>Phrases like “cool” and “tell it like it is” are good examples.\u003c/p>\n\u003cp>“ ‘Cool’ was adopted by white hipsters and beatniks in the early ‘50s before spreading to teen slang. ‘Tell it like it is’ was used by black writers in the early ’60s and quickly became part of general white English,” he says.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That lines up with what multimedia producer Sean Kennedy, an Oakland native, recalls.\u003c/p>\n\u003cp>He remembers saying hella with the kids on his Pop Warner football team and at King Estates Junior High School in the late ’70s.\u003c/p>\n\u003cp>“Very rarely in the African-American or black community do we pick up other people’s language and use them,” he says. “It’s usually the language we create and other people use them.”\u003c/p>\n\u003cp>At that time, hip-hop and street culture gained widespread popularity.\u003c/p>\n\u003cp>“It was used in a manner of explaining, ‘That looked hella good— that looked good’—something that was clean, or somebody acting crazy, ‘You’re hella crazy,’ ” Kennedy says.\u003c/p>\n\u003ch3>Bay Area Punks Debate Hella Vs. Hell Of\u003c/h3>\n\u003caside class=\"alignright\">\n\u003ch3>“Hell of Dumb” by the Mr. T. Experience\u003c/h3>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"369\" height=\"277\" src=\"https://www.youtube.com/embed/-R_TW_ZqHw4\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003c/aside>\n\u003cp>In early years, Bay Area youth debated whether the slang word was hella or actually “hell of.”\u003c/p>\n\u003cp>In Berkeley, the debate could get quite heated, says punk rocker Frank Portman. In 1997, he wrote a song called “Hell of Dumb,” poking fun at the issue with his band the Mr. T. Experience. He thinks the hella vs. hell of debate goes back to 1983.\u003c/p>\n\u003cp>“It was always very clear that it was hell of. It was not hella and if anyone ever said hella, which sometimes people did, they would always correct you with the attitude of a school marm correcting your grammar,” Portman says.\u003c/p>\n\u003ch3>Hella Now\u003c/h3>\n\u003cp>Since those early days, widespread use of hell of, hellacious and helluva has dwindled — leaving hella to stand alone.\u003c/p>\n\u003caside class=\"alignleft\">\n\u003ch3>Cartman uses hella in South Park\u003c/h3>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"369\" height=\"208\" src=\"https://www.youtube.com/embed/7pohEb7DUac\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003c/aside>\n\u003cp>Hella got a national audience in the South Park episode “Spookyfish,” from the second season.\u003c/p>\n\u003cp>Cartman taunts Stan and Kyle by singing, “You guys are hella stupid, you guys are hella lame, you guys are hella dumb hella, hella, hella.”\u003c/p>\n\u003cp>The word may be one of Northern California’s most notorious cultural exports.\u003c/p>\n\u003cp>You’re welcome, world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Got a question you want to see the Bay Curious team take on? \u003ca href=\"http://ww2.kqed.org/news/series/baycurious\" target=\"_blank\" rel=\"noopener noreferrer\">Submit it!\u003c/a> Be sure to subscribe on \u003ca href=\"https://itunes.apple.com/us/podcast/bay-curious/id1172473406\" target=\"_blank\" rel=\"noopener noreferrer\">iTunes\u003c/a>, \u003ca href=\"https://play.google.com/music/listen?u=0#/ps/Ipi2mc5aqfen4nr2daayiziiyuy\">Google Play\u003c/a> or \u003ca href=\"http://www.npr.org/podcasts/500557090/bay-curious\">NPR One\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Lowell is the only public high school in San Francisco where students have to take a test to get in. It is the top public school in the city for college readiness and one of the best in the state.\u003c/p>\n\u003cp>Students at Lowell are mainly focused on one thing: getting into college. They say that sets the tone for the environment here.\u003c/p>\n\u003cp>“Everyone at Lowell is stressed,” says senior Santiago Alvarez.\u003c/p>\n\u003cp>“When I got here it was just like school, school, school, everybody’s stressed out just to get that A,” adds Koreena Ortiz, another senior. “At one time I was wanting to drop out, I couldn’t do it no more.”\u003c/p>\n\u003cp>In addition to those stresses, Ortiz and Alvarez say there’s an \u003ca href=\"http://thelowell.org/portfolio/finding-equity-part-2-latino-students-share-their-stories-of-problems-with-lowells-lack-of-diversity/\">additional stress\u003c/a> if you are a minority student on campus. What they mean by minority is black, Latino, \u003ca href=\"http://www.greatschools.org/california/san-francisco/6397-Lowell-High-School/details/#Students\">Filipino\u003c/a> and Pacific Islander. The majority of students at Lowell are Asian or white.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/265719140″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=’166′ iframe=”true” /]\u003c/p>\n\u003cp>\u003cstrong>Race at Lowell Not Exactly Black and White\u003c/strong>\u003c/p>\n\u003cp>Alvarez, who identifies as Filipino, Puerto Rican and Italian, says being in the minority makes it \u003ca href=\"http://thelowell.org/portfolio/finding-equity-part-1-african-american-students-share-their-stories-of-problems-with-lowells-lack-of-diversity/\">tough to fit in\u003c/a>.\u003c/p>\n\u003cp>“It’s a lot harder if you don’t feel like you belong, or if you don’t feel included,” Alvarez says.\u003c/p>\n\u003cp>Especially in the classroom. Ortiz describes teachers asking classes to divide into small groups of three or four students.\u003c/p>\n\u003cp>“Ten seconds later it’s either just me by myself or me and another person [of color],” Ortiz says.\u003c/p>\n\u003cp>The way Ortiz — who identifies as Samoan, Puerto Rican and Chicano — sees it, her peers assume she’s not smart enough.\u003c/p>\n\u003cp>“We have to ask the teacher, ‘No one wants me in their group, can you put me in a group?’ Like it’s that sad,” she says. “That happens a lot, so I’d rather just work by myself because no one wanna be in a group with me.”\u003c/p>\n\u003cp>Some of the students of color I spoke to say these actions are subtle yet offensive. Lowell Principal Andrew Ishibashi says he realizes this is not going to make a welcoming environment for future students of color.\u003c/p>\n\u003cp>“For the last nine years since I’ve been principal, I’ve been recruiting and setting up special programs for African-Americans and Latinos,” Ishibashi says.\u003c/p>\n\u003cp>But something that happened last winter didn’t help his efforts.\u003c/p>\n\u003cp>A student put up a racially insensitive poster on a school bulletin board that stereotyped black people as entertainers, fast-food employees and gang members.\u003c/p>\n\u003cp>Tsia Blacksher, co-president of the Lowell Black Student Union, \u003ca href=\"http://www.ktvu.com/news/95825583-story\">led a walkout\u003c/a> in protest with about 20 other students.\u003c/p>\n\u003cp>“With the recent events we were talking about having mandatory ethnic [studies] classes,” Blacksher says.\u003c/p>\n\u003cp>The Black Student Union also delivered a list of demands to the school board, including mandatory ethnic studies classes, a full-time African-American recruitment officer and an African-American community center on campus.\u003c/p>\n\u003cp>\u003cstrong>AP or Ethnic Studies?\u003c/strong>\u003c/p>\n\u003cp>Principal Ishibashi says he’s working on the demands. As part of an elective program the school board adopted in December 2014, a Lowell teacher is leading an ethnic studies class with a curriculum provided by the district.\u003c/p>\n\u003cp>But Ishibashi says requiring students to take the class is another matter.\u003c/p>\n\u003cp>“It’s very difficult because you already have students taking six to seven classes,” Ishibashi says. “And to make another graduation requirement just makes it more difficult for the student.”\u003c/p>\n\u003cp>There are some students who would rather take an advanced placement course, he says. For them, ethnic studies isn’t a priority, and he wouldn’t want to force them.\u003c/p>\n\u003cp>“For us it’s a priority but for students, you can’t make it their priority,” Ishibashi says.\u003c/p>\n\u003cfigure id=\"attachment_10961135\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10961135\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/05/LowellHighSchoolMainEntranceFromEuclyptausStreet-800x600.jpg\" alt=\"This is the first year that Lowell High School offered ethnic studies. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/05/LowellHighSchoolMainEntranceFromEuclyptausStreet-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/05/LowellHighSchoolMainEntranceFromEuclyptausStreet-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/05/LowellHighSchoolMainEntranceFromEuclyptausStreet-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/05/LowellHighSchoolMainEntranceFromEuclyptausStreet-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/05/LowellHighSchoolMainEntranceFromEuclyptausStreet.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This is the first year that Lowell High School offered ethnic studies. \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘We Definitely Need Ethnic Studies’\u003c/strong>\u003c/p>\n\u003cp>Senior Lena Truong self-identifies as being in the Asian student majority.\u003c/p>\n\u003cp>She says many of her peers are just too busy to care about the way that capitalism, racism and sexism has oppressed people of color in the past. She, however, chose to make ethnic studies a priority.\u003c/p>\n\u003cp>“Imagine what it’s like not to know your own history. Imagine what it’s like not to see yourself in your textbook and have your history kind of erased or not viewed as important,” she says. “We definitely need ethnic studies.”\u003c/p>\n\u003cp>Truong says there’s not much solidarity between the majority of students who are white and Asian and the other students of color. The lack of support is evident when students fail to understand why a poster is offensive — or exclude people who don’t look like them in group projects.\u003c/p>\n\u003cp>That’s why the San Francisco Unified School District is working on infusing culturally relevant content into the basic history curriculum.\u003c/p>\n\u003cp>Artnelson Concordia oversees ethnic studies for the district. He is determined to get this done over the next couple of years.\u003c/p>\n\u003cp>He says it’s a challenge to get students from more privileged backgrounds involved in the process.\u003c/p>\n\u003cp>“How do we teach about oppression?” he asks. “How do we make it that they’re not seen as the enemy and rather invite them to the solution to addressing the suffering of many of their classmates?”\u003c/p>\n\u003cp>To Concordia, if students can opt out of learning about certain cultures and systems of oppression, the value of ethnic studies is not as powerful.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Many students at Lowell High School agree. Many want their peers to understand their reality so they can help break down barriers in the classroom and out in the real world.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lowell is the only public high school in San Francisco where students have to take a test to get in. It is the top public school in the city for college readiness and one of the best in the state.\u003c/p>\n\u003cp>Students at Lowell are mainly focused on one thing: getting into college. They say that sets the tone for the environment here.\u003c/p>\n\u003cp>“Everyone at Lowell is stressed,” says senior Santiago Alvarez.\u003c/p>\n\u003cp>“When I got here it was just like school, school, school, everybody’s stressed out just to get that A,” adds Koreena Ortiz, another senior. “At one time I was wanting to drop out, I couldn’t do it no more.”\u003c/p>\n\u003cp>In addition to those stresses, Ortiz and Alvarez say there’s an \u003ca href=\"http://thelowell.org/portfolio/finding-equity-part-2-latino-students-share-their-stories-of-problems-with-lowells-lack-of-diversity/\">additional stress\u003c/a> if you are a minority student on campus. What they mean by minority is black, Latino, \u003ca href=\"http://www.greatschools.org/california/san-francisco/6397-Lowell-High-School/details/#Students\">Filipino\u003c/a> and Pacific Islander. The majority of students at Lowell are Asian or white.\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>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='’166′'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/265719140″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/265719140″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Race at Lowell Not Exactly Black and White\u003c/strong>\u003c/p>\n\u003cp>Alvarez, who identifies as Filipino, Puerto Rican and Italian, says being in the minority makes it \u003ca href=\"http://thelowell.org/portfolio/finding-equity-part-1-african-american-students-share-their-stories-of-problems-with-lowells-lack-of-diversity/\">tough to fit in\u003c/a>.\u003c/p>\n\u003cp>“It’s a lot harder if you don’t feel like you belong, or if you don’t feel included,” Alvarez says.\u003c/p>\n\u003cp>Especially in the classroom. Ortiz describes teachers asking classes to divide into small groups of three or four students.\u003c/p>\n\u003cp>“Ten seconds later it’s either just me by myself or me and another person [of color],” Ortiz says.\u003c/p>\n\u003cp>The way Ortiz — who identifies as Samoan, Puerto Rican and Chicano — sees it, her peers assume she’s not smart enough.\u003c/p>\n\u003cp>“We have to ask the teacher, ‘No one wants me in their group, can you put me in a group?’ Like it’s that sad,” she says. “That happens a lot, so I’d rather just work by myself because no one wanna be in a group with me.”\u003c/p>\n\u003cp>Some of the students of color I spoke to say these actions are subtle yet offensive. Lowell Principal Andrew Ishibashi says he realizes this is not going to make a welcoming environment for future students of color.\u003c/p>\n\u003cp>“For the last nine years since I’ve been principal, I’ve been recruiting and setting up special programs for African-Americans and Latinos,” Ishibashi says.\u003c/p>\n\u003cp>But something that happened last winter didn’t help his efforts.\u003c/p>\n\u003cp>A student put up a racially insensitive poster on a school bulletin board that stereotyped black people as entertainers, fast-food employees and gang members.\u003c/p>\n\u003cp>Tsia Blacksher, co-president of the Lowell Black Student Union, \u003ca href=\"http://www.ktvu.com/news/95825583-story\">led a walkout\u003c/a> in protest with about 20 other students.\u003c/p>\n\u003cp>“With the recent events we were talking about having mandatory ethnic [studies] classes,” Blacksher says.\u003c/p>\n\u003cp>The Black Student Union also delivered a list of demands to the school board, including mandatory ethnic studies classes, a full-time African-American recruitment officer and an African-American community center on campus.\u003c/p>\n\u003cp>\u003cstrong>AP or Ethnic Studies?\u003c/strong>\u003c/p>\n\u003cp>Principal Ishibashi says he’s working on the demands. As part of an elective program the school board adopted in December 2014, a Lowell teacher is leading an ethnic studies class with a curriculum provided by the district.\u003c/p>\n\u003cp>But Ishibashi says requiring students to take the class is another matter.\u003c/p>\n\u003cp>“It’s very difficult because you already have students taking six to seven classes,” Ishibashi says. “And to make another graduation requirement just makes it more difficult for the student.”\u003c/p>\n\u003cp>There are some students who would rather take an advanced placement course, he says. For them, ethnic studies isn’t a priority, and he wouldn’t want to force them.\u003c/p>\n\u003cp>“For us it’s a priority but for students, you can’t make it their priority,” Ishibashi says.\u003c/p>\n\u003cfigure id=\"attachment_10961135\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10961135\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/05/LowellHighSchoolMainEntranceFromEuclyptausStreet-800x600.jpg\" alt=\"This is the first year that Lowell High School offered ethnic studies. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/05/LowellHighSchoolMainEntranceFromEuclyptausStreet-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/05/LowellHighSchoolMainEntranceFromEuclyptausStreet-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/05/LowellHighSchoolMainEntranceFromEuclyptausStreet-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/05/LowellHighSchoolMainEntranceFromEuclyptausStreet-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/05/LowellHighSchoolMainEntranceFromEuclyptausStreet.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This is the first year that Lowell High School offered ethnic studies. \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘We Definitely Need Ethnic Studies’\u003c/strong>\u003c/p>\n\u003cp>Senior Lena Truong self-identifies as being in the Asian student majority.\u003c/p>\n\u003cp>She says many of her peers are just too busy to care about the way that capitalism, racism and sexism has oppressed people of color in the past. She, however, chose to make ethnic studies a priority.\u003c/p>\n\u003cp>“Imagine what it’s like not to know your own history. Imagine what it’s like not to see yourself in your textbook and have your history kind of erased or not viewed as important,” she says. “We definitely need ethnic studies.”\u003c/p>\n\u003cp>Truong says there’s not much solidarity between the majority of students who are white and Asian and the other students of color. The lack of support is evident when students fail to understand why a poster is offensive — or exclude people who don’t look like them in group projects.\u003c/p>\n\u003cp>That’s why the San Francisco Unified School District is working on infusing culturally relevant content into the basic history curriculum.\u003c/p>\n\u003cp>Artnelson Concordia oversees ethnic studies for the district. He is determined to get this done over the next couple of years.\u003c/p>\n\u003cp>He says it’s a challenge to get students from more privileged backgrounds involved in the process.\u003c/p>\n\u003cp>“How do we teach about oppression?” he asks. “How do we make it that they’re not seen as the enemy and rather invite them to the solution to addressing the suffering of many of their classmates?”\u003c/p>\n\u003cp>To Concordia, if students can opt out of learning about certain cultures and systems of oppression, the value of ethnic studies is not as powerful.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Many students at Lowell High School agree. Many want their peers to understand their reality so they can help break down barriers in the classroom and out in the real world.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Pump up your tires, check your brakes and test those lights. Thursday, May 12, is the 22nd annual \u003ca href=\"http://youcanbikethere.com/\">Bay Area Bike to Work Day\u003c/a>. If you ever thought about saddling up for your morning commute, Thursday is probably the ideal day to take your bike out for a spin.\u003c/p>\n\u003cp>In recent years, Bay Area cities have installed bike lanes and paths along busy \u003ca href=\"http://www.mercurynews.com/bay-area-news/ci_29878099/cyclists-trump-cars-city-streets-and-not-just?source=infinite-up\">streets\u003c/a> — and \u003ca href=\"http://ww2.kqed.org/news/2016/05/09/bay-bridge-eastern-span-bike-path-now-set-to-open-in-september\">bridges\u003c/a> more recently. These routes will be dotted with approximately 400 energizer stations complete with mechanics, coffee, snacks and workshops on safety.\u003c/p>\n\u003cp>Hallie Baron, of the \u003ca href=\"https://bikesiliconvalley.org/\">Silicon Valley Bicycle Coalition, \u003c/a>estimates between 70,000 and 100,000 riders across the Bay Area's nine counties will participate.\u003c/p>\n\u003cp>\"It's a day to celebrate long-term bike commuters because of the impact they've had on their personal health and the environment,\" Baron said. \"Most importantly, it's a day to encourage people who want to try it for the first time.\"\u003c/p>\n\u003cp>The health and environmental impacts of commuting on two wheels are multifaceted. But Baron says it's also important to keep safety in mind. Here are a few basic tips for first-time riders:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Map your route:\u003c/strong> Baron suggests \u003ca href=\"http://gis.mtc.ca.gov/btp/\">mapping out\u003c/a> a commute with routes that use only bike lanes. If that's not an option, consider biking part way. \"You could bike from your house to the bus,\" she says.\u003c/p>\n\u003cp>\u003cstrong>Stay aware:\u003c/strong> Whatever you do, Baron says, do not wear earbuds. Practice paying attention to your surroundings, \"Being aware of what's going on around you is very important as a cyclist. You have to be very defensive.\" It will make it a much more pleasant experience, she says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong> Make sure your bicycle is in good condition:\u003c/strong> \"The only thing that really impacts your ride to work is having a bicycle that is in shape.\" To ensure a pleasant ride, make sure your bike fits you properly and go in for a tuneup every year. Because if it falls apart on you in the middle of your commute, you're kind of stuck.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pump up your tires, check your brakes and test those lights. Thursday, May 12, is the 22nd annual \u003ca href=\"http://youcanbikethere.com/\">Bay Area Bike to Work Day\u003c/a>. If you ever thought about saddling up for your morning commute, Thursday is probably the ideal day to take your bike out for a spin.\u003c/p>\n\u003cp>In recent years, Bay Area cities have installed bike lanes and paths along busy \u003ca href=\"http://www.mercurynews.com/bay-area-news/ci_29878099/cyclists-trump-cars-city-streets-and-not-just?source=infinite-up\">streets\u003c/a> — and \u003ca href=\"http://ww2.kqed.org/news/2016/05/09/bay-bridge-eastern-span-bike-path-now-set-to-open-in-september\">bridges\u003c/a> more recently. These routes will be dotted with approximately 400 energizer stations complete with mechanics, coffee, snacks and workshops on safety.\u003c/p>\n\u003cp>Hallie Baron, of the \u003ca href=\"https://bikesiliconvalley.org/\">Silicon Valley Bicycle Coalition, \u003c/a>estimates between 70,000 and 100,000 riders across the Bay Area's nine counties will participate.\u003c/p>\n\u003cp>\"It's a day to celebrate long-term bike commuters because of the impact they've had on their personal health and the environment,\" Baron said. \"Most importantly, it's a day to encourage people who want to try it for the first time.\"\u003c/p>\n\u003cp>The health and environmental impacts of commuting on two wheels are multifaceted. But Baron says it's also important to keep safety in mind. Here are a few basic tips for first-time riders:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Map your route:\u003c/strong> Baron suggests \u003ca href=\"http://gis.mtc.ca.gov/btp/\">mapping out\u003c/a> a commute with routes that use only bike lanes. If that's not an option, consider biking part way. \"You could bike from your house to the bus,\" she says.\u003c/p>\n\u003cp>\u003cstrong>Stay aware:\u003c/strong> Whatever you do, Baron says, do not wear earbuds. Practice paying attention to your surroundings, \"Being aware of what's going on around you is very important as a cyclist. You have to be very defensive.\" It will make it a much more pleasant experience, she says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong> Make sure your bicycle is in good condition:\u003c/strong> \"The only thing that really impacts your ride to work is having a bicycle that is in shape.\" To ensure a pleasant ride, make sure your bike fits you properly and go in for a tuneup every year. Because if it falls apart on you in the middle of your commute, you're kind of stuck.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment wp-att-11316580 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11316580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg\" alt=\"pARTicipate-button-400x400\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>Mick Gardner’s passion for playing the drums started about five years ago. The San Francisco County Corrections worker was leaving a meeting in Berkeley when he heard some music coming from one of the rooms in the building.\u003c/p>\n\u003cp>“I went inside the room,” Gardner, 62, says. “I heard people playing drums in all different variations. Everybody was sweating. The conductor gave me one of the instruments and I said to myself, ‘this is where I want to be’”.\u003c/p>\n\u003cp>\u003cem>Listen to Gardner explain why he finds Brazilian drumming so compelling.\u003c/em>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/248946884″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=’166′ iframe=”true” /]\u003c/p>\n\u003cp>Gardner plays a form of pop-infused Brazilian samba-reggae music called “axé,” which became popular in the 1990s. The music involves the complex rhythmic interplay of different percussion instruments.\u003c/p>\n\u003caside class=\"callout alignright\">\u003cstrong>pARTicipate with us! \u003c/strong>We need your help to make this project bloom. If you have an artistic hobby that you’re passionate about, or know about an artist or organization involved in community art-making, we want to hear from you in any or all of the following ways:\n\u003cul>\n\u003cli>Share an image or video of you (and your friends) participating in your activity\u003c/li>\n\u003cli>Tell us the story of how you got involved in your practice, what it is you do and why it means so much to you\u003c/li>\n\u003cli>Send us information about arts organizations or individual coaches who are helping to bring creativity to your community\u003c/li>\n\u003c/ul>\n\u003cp>\u003cspan style=\"font-weight: 400\">You can reach us in the following ways:\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Email: \u003c/span>\u003ca href=\"mailto:cveltman@kqed.org\">\u003cspan style=\"font-weight: 400\">cveltman@kqed.org\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">Twitter: @KQEDarts and #KQEDparticipate\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Facebook: KQED Arts\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Instagram: @KQEDofficial and #KQEDparticipate\u003c/span>\u003c/p>\n\u003c/aside>\n\u003cp>Gardner’s instrument is the “surdo”–a large bass drum that’s popular in axé and samba-reggae music. He says drumming helps him leave his busy work day behind after he leaves the office.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even though he has been playing surdo for several years, Gardner still sees himself as a beginner. “I’m not a musician” he says. “I’m not a dancer and there’s choreography that you have to adhere to.”\u003c/p>\n\u003cp>Gardner finds it challenging to keep the beat and dance at the same time, “Those two are my major obstacles,” he says. “On a scale of one to ten I’m probably a six, but I’m getting better.”\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Intrigued and want to find out more about how to play the Brazilian percussion? Learn three basic techniques from local drum expert Marcos Odara and explore different studios around the Bay Area where you can learn this art form \u003ca href=\"http://ww2.kqed.org/arts/2016/03/08/learn-3-easy-brazilian-drum-beats-from-a-pro/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11372758\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11372758 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/IMG_0003-e1456883513451-1180x994.jpg\" alt='Sometimes your hands get bloody says Odara, \"But you need to play.\"' width=\"640\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0003-e1456883513451-1180x994.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0003-e1456883513451-400x337.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0003-e1456883513451-712x600.jpg 712w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0003-e1456883513451-768x647.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0003-e1456883513451-960x809.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0003-e1456883513451.jpg 1781w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Marcos Odara teaches drumming in the East Bay. \u003ccite>(Adizah Eghan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\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=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment wp-att-11316580 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11316580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg\" alt=\"pARTicipate-button-400x400\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>Mick Gardner’s passion for playing the drums started about five years ago. The San Francisco County Corrections worker was leaving a meeting in Berkeley when he heard some music coming from one of the rooms in the building.\u003c/p>\n\u003cp>“I went inside the room,” Gardner, 62, says. “I heard people playing drums in all different variations. Everybody was sweating. The conductor gave me one of the instruments and I said to myself, ‘this is where I want to be’”.\u003c/p>\n\u003cp>\u003cem>Listen to Gardner explain why he finds Brazilian drumming so compelling.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='’166′'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/248946884″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/248946884″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Gardner plays a form of pop-infused Brazilian samba-reggae music called “axé,” which became popular in the 1990s. The music involves the complex rhythmic interplay of different percussion instruments.\u003c/p>\n\u003caside class=\"callout alignright\">\u003cstrong>pARTicipate with us! \u003c/strong>We need your help to make this project bloom. If you have an artistic hobby that you’re passionate about, or know about an artist or organization involved in community art-making, we want to hear from you in any or all of the following ways:\n\u003cul>\n\u003cli>Share an image or video of you (and your friends) participating in your activity\u003c/li>\n\u003cli>Tell us the story of how you got involved in your practice, what it is you do and why it means so much to you\u003c/li>\n\u003cli>Send us information about arts organizations or individual coaches who are helping to bring creativity to your community\u003c/li>\n\u003c/ul>\n\u003cp>\u003cspan style=\"font-weight: 400\">You can reach us in the following ways:\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Email: \u003c/span>\u003ca href=\"mailto:cveltman@kqed.org\">\u003cspan style=\"font-weight: 400\">cveltman@kqed.org\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">Twitter: @KQEDarts and #KQEDparticipate\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Facebook: KQED Arts\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Instagram: @KQEDofficial and #KQEDparticipate\u003c/span>\u003c/p>\n\u003c/aside>\n\u003cp>Gardner’s instrument is the “surdo”–a large bass drum that’s popular in axé and samba-reggae music. He says drumming helps him leave his busy work day behind after he leaves the office.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even though he has been playing surdo for several years, Gardner still sees himself as a beginner. “I’m not a musician” he says. “I’m not a dancer and there’s choreography that you have to adhere to.”\u003c/p>\n\u003cp>Gardner finds it challenging to keep the beat and dance at the same time, “Those two are my major obstacles,” he says. “On a scale of one to ten I’m probably a six, but I’m getting better.”\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Intrigued and want to find out more about how to play the Brazilian percussion? Learn three basic techniques from local drum expert Marcos Odara and explore different studios around the Bay Area where you can learn this art form \u003ca href=\"http://ww2.kqed.org/arts/2016/03/08/learn-3-easy-brazilian-drum-beats-from-a-pro/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11372758\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11372758 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/IMG_0003-e1456883513451-1180x994.jpg\" alt='Sometimes your hands get bloody says Odara, \"But you need to play.\"' width=\"640\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0003-e1456883513451-1180x994.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0003-e1456883513451-400x337.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0003-e1456883513451-712x600.jpg 712w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0003-e1456883513451-768x647.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0003-e1456883513451-960x809.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0003-e1456883513451.jpg 1781w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Marcos Odara teaches drumming in the East Bay. \u003ccite>(Adizah Eghan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment wp-att-11316580 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11316580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg\" alt=\"pARTicipate-button-400x400\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>Marcos Odara has been playing the conga drums for 39 years and teaching for the last 20. Odara hails from Salvador da Bahia, Brazil and now calls\u003cstrong> \u003c/strong>Oakland home. The drum master teaches Brazilian drumming in Oakland and Berkeley.\u003c/p>\n\u003cp>Brazilian percussion involves hands, sticks and all kinds of drums. “We have atabaque, agogo, pandeiro, repinique, surdo, cu\u003cem>í\u003c/em>ca,” Odara says, naming a few tools of his trade.\u003c/p>\n\u003cp>Watch Odara break down three basic drum techniques and then show how they weave together to make beautiful rhythmic patterns:\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=LJ2oklZbG70&w=560&h=315]\u003c/p>\n\u003caside class=\"callout alignright\">\u003cstrong>pARTicipate with us! \u003c/strong>We need your help to make this project bloom. If you have an artistic hobby that you’re passionate about, or know about an artist or organization involved in community art-making, we want to hear from you in any or all of the following ways:\n\u003cul>\n\u003cli>Share an image or video of you (and your friends) participating in your activity\u003c/li>\n\u003cli>Tell us the story of how you got involved in your practice, what it is you do and why it means so much to you\u003c/li>\n\u003cli>Send us information about arts organizations or individual coaches who are helping to bring creativity to your community\u003c/li>\n\u003c/ul>\n\u003cp>\u003cspan style=\"font-weight: 400\">You can reach us in the following ways:\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Email: \u003c/span>\u003ca href=\"mailto:cveltman@kqed.org\">\u003cspan style=\"font-weight: 400\">cveltman@kqed.org\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">Twitter: @KQEDarts and #KQEDparticipate\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Facebook: KQED Arts\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Instagram: @KQEDofficial and #KQEDparticipate\u003c/span>\u003c/p>\n\u003c/aside>\n\u003cp>Here’s a recap of the three basic techniques of Brazilian drumming, according to Odara:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11372759 alignright\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/IMG_0015-400x300.jpg\" alt=\"IMG_0015\" width=\"140\" height=\"105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0015-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0015-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0015-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0015-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0015-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0015-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0015.jpg 2048w\" sizes=\"(max-width: 140px) 100vw, 140px\">\u003cstrong>Bass\u003cbr>\n\u003c/strong>Super common and important to master. With a flat hand, hold your fingers together and strike the center of the drum with your palm. As soon as your hand hits the skin of the drum, let it bounce so the sound can escape.\u003c/p>\n\u003cp>\u003cstrong>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11377749 alignright\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/File_000-5-400x300.jpeg\" alt=\"File_000 (5)\" width=\"137\" height=\"103\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-5-400x300.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-5-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-5-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-5-1180x885.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-5-1920x1440.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-5-960x720.jpeg 960w\" sizes=\"(max-width: 137px) 100vw, 137px\">Tone\u003cbr>\n\u003c/strong>Tone is all about the fingers. Cup your hands like you are holding a golfball and press the fingers together. Then, strike the rim of the drum with your finger pads.\u003c/p>\n\u003cp>\u003cstrong>S\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-11372760\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/IMG_0023-400x300.jpg\" alt=\"IMG_0023\" width=\"141\" height=\"106\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0023-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0023-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0023-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0023-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0023-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0023-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0023.jpg 2048w\" sizes=\"(max-width: 141px) 100vw, 141px\">lap\u003cbr>\n\u003c/strong>This technique looks easy but is challenging to master. Hit the edge of the drum with a flat medium-open hand.\u003c/p>\n\u003cp>\u003cstrong>\u003cbr>\nWant to learn? Here’s where you can find Brazilian-style music and dance classes.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.batalasanfrancisco.com/\">Batalá \u003c/a>\u003ca href=\"http://www.batalasanfrancisco.com/\" target=\"_blank\" rel=\"noopener\"> San Francisco\u003c/a>, Oakland/San Francisco\u003cbr>\n\u003c/strong>\u003cspan style=\"font-weight: 400\">Axé/\u003c/span>\u003cspan style=\"font-weight: 400\">Samba-Reggae drumming group that’s open to all levels of drummers. Performances all over the Bay Area with practices in Oakland. Newbies can become members after four weeks.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.brasarte.com/\" target=\"_blank\" rel=\"noopener\">BrasArte\u003c/a>, Berkeley\u003cbr>\n\u003c/strong>With a goal to preserve Brazil’s vibrant music and dance in the Bay Area, BrasArte offers dance classes including samba, folklore, and West African dance and drum.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://sambaxedance.com/\" target=\"_blank\" rel=\"noopener\">SambaAxe\u003c/a> , San Francisco\u003cbr>\n\u003c/strong>Primarily teaches various levels of samba at ODC Rhythm and Motion dance program in the Mission District. SambaAxe also offers a samba percussion workshop.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.musicishealing.com\" target=\"_blank\" rel=\"noopener\">Samba Mundial, \u003c/a>Mountain View\u003cbr>\n\u003c/strong>Offers a variety of drum and dance classes as a way to promote cross-cultural exchange and through music and dance. Dedicated to community participation.\u003c/p>\n\u003cfigure id=\"attachment_11377644\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11377644 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/File_000-4-800x600.jpeg\" alt=\"Mick Gardner got turned on to playing samba-reggae music when he was passing by a roomful of drummers one day and one of them thrust an instrument in his hands. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-4-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-4-400x300.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-4-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-4-1180x885.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-4-1920x1440.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-4-960x720.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mick Gardner, 62, plays the surdo as a release from his job. (Photo: Adizah Eghan/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Listen \u003ca href=\"http://ww2.kqed.org/arts/2016/03/08/san-francisco-county-corrections-worker-drums-to-let-off-steam/\" target=\"_blank\" rel=\"noopener\">here \u003c/a>to the story of Mick Gardner, a San Francisco County corrections worker who became entranced with Brazilian drumming and now considers the art form a major passion.\u003c/strong> \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment wp-att-11316580 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11316580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg\" alt=\"pARTicipate-button-400x400\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>Marcos Odara has been playing the conga drums for 39 years and teaching for the last 20. Odara hails from Salvador da Bahia, Brazil and now calls\u003cstrong> \u003c/strong>Oakland home. The drum master teaches Brazilian drumming in Oakland and Berkeley.\u003c/p>\n\u003cp>Brazilian percussion involves hands, sticks and all kinds of drums. “We have atabaque, agogo, pandeiro, repinique, surdo, cu\u003cem>í\u003c/em>ca,” Odara says, naming a few tools of his trade.\u003c/p>\n\u003cp>Watch Odara break down three basic drum techniques and then show how they weave together to make beautiful rhythmic patterns:\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/LJ2oklZbG70'\n title='//www.youtube.com/embed/LJ2oklZbG70'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003caside class=\"callout alignright\">\u003cstrong>pARTicipate with us! \u003c/strong>We need your help to make this project bloom. If you have an artistic hobby that you’re passionate about, or know about an artist or organization involved in community art-making, we want to hear from you in any or all of the following ways:\n\u003cul>\n\u003cli>Share an image or video of you (and your friends) participating in your activity\u003c/li>\n\u003cli>Tell us the story of how you got involved in your practice, what it is you do and why it means so much to you\u003c/li>\n\u003cli>Send us information about arts organizations or individual coaches who are helping to bring creativity to your community\u003c/li>\n\u003c/ul>\n\u003cp>\u003cspan style=\"font-weight: 400\">You can reach us in the following ways:\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Email: \u003c/span>\u003ca href=\"mailto:cveltman@kqed.org\">\u003cspan style=\"font-weight: 400\">cveltman@kqed.org\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">Twitter: @KQEDarts and #KQEDparticipate\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Facebook: KQED Arts\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Instagram: @KQEDofficial and #KQEDparticipate\u003c/span>\u003c/p>\n\u003c/aside>\n\u003cp>Here’s a recap of the three basic techniques of Brazilian drumming, according to Odara:\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=\"wp-image-11372759 alignright\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/IMG_0015-400x300.jpg\" alt=\"IMG_0015\" width=\"140\" height=\"105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0015-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0015-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0015-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0015-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0015-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0015-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0015.jpg 2048w\" sizes=\"(max-width: 140px) 100vw, 140px\">\u003cstrong>Bass\u003cbr>\n\u003c/strong>Super common and important to master. With a flat hand, hold your fingers together and strike the center of the drum with your palm. As soon as your hand hits the skin of the drum, let it bounce so the sound can escape.\u003c/p>\n\u003cp>\u003cstrong>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11377749 alignright\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/File_000-5-400x300.jpeg\" alt=\"File_000 (5)\" width=\"137\" height=\"103\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-5-400x300.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-5-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-5-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-5-1180x885.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-5-1920x1440.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-5-960x720.jpeg 960w\" sizes=\"(max-width: 137px) 100vw, 137px\">Tone\u003cbr>\n\u003c/strong>Tone is all about the fingers. Cup your hands like you are holding a golfball and press the fingers together. Then, strike the rim of the drum with your finger pads.\u003c/p>\n\u003cp>\u003cstrong>S\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-11372760\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/IMG_0023-400x300.jpg\" alt=\"IMG_0023\" width=\"141\" height=\"106\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0023-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0023-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0023-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0023-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0023-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0023-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0023.jpg 2048w\" sizes=\"(max-width: 141px) 100vw, 141px\">lap\u003cbr>\n\u003c/strong>This technique looks easy but is challenging to master. Hit the edge of the drum with a flat medium-open hand.\u003c/p>\n\u003cp>\u003cstrong>\u003cbr>\nWant to learn? Here’s where you can find Brazilian-style music and dance classes.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.batalasanfrancisco.com/\">Batalá \u003c/a>\u003ca href=\"http://www.batalasanfrancisco.com/\" target=\"_blank\" rel=\"noopener\"> San Francisco\u003c/a>, Oakland/San Francisco\u003cbr>\n\u003c/strong>\u003cspan style=\"font-weight: 400\">Axé/\u003c/span>\u003cspan style=\"font-weight: 400\">Samba-Reggae drumming group that’s open to all levels of drummers. Performances all over the Bay Area with practices in Oakland. Newbies can become members after four weeks.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.brasarte.com/\" target=\"_blank\" rel=\"noopener\">BrasArte\u003c/a>, Berkeley\u003cbr>\n\u003c/strong>With a goal to preserve Brazil’s vibrant music and dance in the Bay Area, BrasArte offers dance classes including samba, folklore, and West African dance and drum.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://sambaxedance.com/\" target=\"_blank\" rel=\"noopener\">SambaAxe\u003c/a> , San Francisco\u003cbr>\n\u003c/strong>Primarily teaches various levels of samba at ODC Rhythm and Motion dance program in the Mission District. SambaAxe also offers a samba percussion workshop.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.musicishealing.com\" target=\"_blank\" rel=\"noopener\">Samba Mundial, \u003c/a>Mountain View\u003cbr>\n\u003c/strong>Offers a variety of drum and dance classes as a way to promote cross-cultural exchange and through music and dance. Dedicated to community participation.\u003c/p>\n\u003cfigure id=\"attachment_11377644\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11377644 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/File_000-4-800x600.jpeg\" alt=\"Mick Gardner got turned on to playing samba-reggae music when he was passing by a roomful of drummers one day and one of them thrust an instrument in his hands. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-4-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-4-400x300.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-4-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-4-1180x885.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-4-1920x1440.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-4-960x720.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mick Gardner, 62, plays the surdo as a release from his job. (Photo: Adizah Eghan/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Listen \u003ca href=\"http://ww2.kqed.org/arts/2016/03/08/san-francisco-county-corrections-worker-drums-to-let-off-steam/\" target=\"_blank\" rel=\"noopener\">here \u003c/a>to the story of Mick Gardner, a San Francisco County corrections worker who became entranced with Brazilian drumming and now considers the art form a major passion.\u003c/strong> \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Berkeley High parent Robin Claire Barnes says when it comes to talking about race in Berkeley, there’s one thing that is problematic: the myth of colorblindness.\u003c/p>\n\u003cp>“There’s this desire for everyone to say that they are colorblind. You can’t look at a black child and white child and say, ‘I’m colorblind, so to me they’re equal,’ and then walk away.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/246244679″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=’166′ iframe=”true” /]\u003c/p>\n\u003cp>A white child might have a good friend who is black, or of other races and ethnicities, “but they don’t really understand how the world treats their friend because they grew up in Berkeley,” she says.\u003c/p>\n\u003cp>\u003cstrong>Tackling Segregation\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 1968, the Berkeley Unified School District was one of the first school districts in the country to voluntarily desegregate. It was 14 years after \u003cem>Brown v. Board of Education\u003c/em>, the Supreme Court ruling that decreed segregation illegal in public schools.\u003c/p>\n\u003cp>Today, the \u003ca href=\"http://www.berkeleyschools.net/about-the-district/about/\">Berkeley Unified School District \u003c/a>takes pride in the diversity of Berkeley schools. However, school administrators, teachers, students and parents all acknowledge that the Berkeley High campus is segregated.\u003c/p>\n\u003cp>One Berkeley parent, who wanted to remain anonymous, says that when she attended the high school in the mid-’70s, the school was divided along racial lines.\u003c/p>\n\u003cp>“As a white teenager at Berkeley High, I really wanted to be friends with the black kids. I wanted to.”\u003c/p>\n\u003cp>Claire Barnes, who is also a Berkeley High alum, remembers a racial climate that was a little bit different when she attended Berkeley High in the late ’70s.\u003c/p>\n\u003cp>“Some kids hung out in one area, some kids hung out in another area. There were certain spots that were turfs, but people intermingled.”\u003c/p>\n\u003cp>Claire Barnes, who sometimes volunteers at the school, says she doesn’t see that as much in the halls these days.\u003c/p>\n\u003cp>“I’m not seeing different races intermingling at the junior or senior level. That’s usually when it happens.”\u003c/p>\n\u003cp>In November, the race issue \u003ca href=\"//ww2.kqed.org/news/2015/12/15/berkeley-high-students-get-real-about-race-on-campus%E2%80%9D\">came to a head\u003c/a> after racist threats were found on a library computer.\u003c/p>\n\u003cp>\u003cstrong>A Wake-Up Call\u003c/strong>\u003c/p>\n\u003cp>“What we learned was that, in some ways, we’re not any better than anyone else,” says Mark Coplan, spokesman for the Berkeley Unified School District.\u003c/p>\n\u003cp>“We’ve always thought and would like to believe that our community is different, but the fact is institutional racism and individual racism surfaces and has to be addressed,” Coplan says.\u003c/p>\n\u003cp>On Dec. 9, 2015, the school dedicated an entire day to talking about racism and racial bias in all classes. But even by the next day, students like Sean Hoffman wanted more.\u003c/p>\n\u003cp>Hoffman, who spoke to KQED after an orchestra concert, says his teachers didn’t keep the conversation about racism and racial bias going on the day after Dec. 9.\u003c/p>\n\u003cp>“I was disappointed, I feel like it was something we should continue talking about and continue pressing as an issue,” says Hoffman, who is a sophomore.\u003c/p>\n\u003cp>Over two months later, students say these issues still aren’t being fully addressed.\u003c/p>\n\u003cfigure id=\"attachment_10862349\" class=\"wp-caption alignleft\" style=\"max-width: 263px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10862349\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/RS18395_IMG_4766-sfi-400x300.jpg\" alt='L to R: Paige Jones, Jordan Corbino and Zamaria Odom are seniors at Berkeley High. \"Its our job to come back and make a difference in the community,\" says Odom.' width=\"263\" height=\"197\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RS18395_IMG_4766-sfi-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RS18395_IMG_4766-sfi.jpg 480w\" sizes=\"(max-width: 263px) 100vw, 263px\">\u003cfigcaption class=\"wp-caption-text\">L to R: Paige Jones, Jordan Corbino and Zamaria Odom are seniors at Berkeley High. ‘It’s our job to come back and make a difference in the community,’ says Odom. \u003ccite>(Adizah Eghan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We kind of stayed on it for a couple of days. We talked about it and then we watched movies about it. But it was blown out of proportion because a couple weeks later we [went] on to the next thing,” says Jordan Corbino one day recently after school. Corbino, who is a senior, sits next to his friend Zamaria Odom.\u003c/p>\n\u003cp>“I think the teachers did a pretty good job of focusing on the issue but after a week or so, the issue was dead, and it didn’t really get handled again. It didn’t really get talked about. It just went back to normal,” Odom says.\u003c/p>\n\u003cp>Friends Sebastien Briddoneau and Elijah Liedeker also really want these conversations to continue in class.\u003c/p>\n\u003cp>“People seemed to have already forgotten about it. Not everyone, but a lot of people, the majority of the Berkeley High population,” Liedeker says.\u003c/p>\n\u003cp>\u003cstrong>Why Aren’t These Conversations About Race Happening?\u003c/strong>\u003c/p>\n\u003cp>Berkeley High parent and PTA member Christine Staples says teachers are under a huge amount of pressure.\u003c/p>\n\u003cp>“Teachers don’t feel equipped to facilitate those kind of conversations. Those are big, far-reaching, long conversations,” she says. “They need help. They need training. I mean, should some random English teacher just start trying to facilitate this conversation?”\u003c/p>\n\u003cp>Some of the teachers who spoke to KQED agreed, but they didn’t want to go on the record for fear of being critical of the administration.\u003c/p>\n\u003cp>“There is support for teachers who might not feel like they have the background, or they have the information themselves. It’s a touchy situation,” says a Berkeley High teacher who would like to remain anonymous. “I’m not sure it’s a class that’s taught. It’s a life experience, so it’s a little fake sometimes to try and teach something without experiencing it.”\u003c/p>\n\u003cp>There are teachers at Berkeley High who are incredibly equipped to talk about race. But that number is small, Coplan says. The district’s goal is to get all teachers on a similar level.\u003c/p>\n\u003cp>“There are individuals who have their own beliefs, their own feelings, and in some cases it’s as simple as they are uncomfortable with the subject because they don’t understand it,” Coplan says.\u003c/p>\n\u003cp>Teacher and professional development coordinator Tamara Friedman says the high school wants to expand on a training session it did last fall on “culturally responsive teaching,” which embeds instruction around racism and anti-racism throughout a teacher’s content and curriculum.\u003c/p>\n\u003cp>\u003cstrong>Black Student Union Still Working on Its List of Demands\u003c/strong>\u003c/p>\n\u003cp>The Black Student Union (BSU) is continuing to push its \u003ca href=\"//afrikanblackcoalition.org/2015/12/21/after-threats-of-a-lynching-berkeley-highs-black-student-union-releases-demands/%E2%80%9D\">list of demands \u003c/a> before the Berkeley school board and Berkeley High administration.\u003c/p>\n\u003cp>At a school board meeting on Jan. 13, BSU co-president Alecia Harger told the board that things have to move more quickly.\u003c/p>\n\u003cp>The BSU wants to get these demands done soon, “so that the people who are freshman now don’t have to go through their entire four years as black students unsupported and feeling unloved and unwanted at Berkeley High,” Harger says.\u003c/p>\n\u003cp>Superintendent Donald Evans says this is a serious priority.\u003c/p>\n\u003cp>“I faced what those kids were talking about when I was in high school and when I was in college. This is personal for me,” he says.\u003c/p>\n\u003cp>Evans and Pasarow are working together to implement \u003ca href=\"//www.berkeleyschools.net/wp-content/uploads/2016/01/V6FinalBUSDSupsResponse.pdf?5759fb&5759fb%E2%80%9D\">immediate to long-term \u003c/a>steps to address the demands.\u003c/p>\n\u003cp>“I feel a lot of healthy pressure as a leader of this school to have this not be a one-off response. We need to have a sustained response,” Pasarow says.\u003c/p>\n\u003cp>But Zamaria Odom says he’s not expecting much before he graduates this year.\u003c/p>\n\u003cp>“Honestly, I don’t think anything is going to change, even when we leave and the next class leaves, because people don’t like to be put out there to make a difference,” Odom says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Instead, Odom believes change will also take former students like him coming back to school to hold the administration accountable.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Berkeley High parent Robin Claire Barnes says when it comes to talking about race in Berkeley, there’s one thing that is problematic: the myth of colorblindness.\u003c/p>\n\u003cp>“There’s this desire for everyone to say that they are colorblind. You can’t look at a black child and white child and say, ‘I’m colorblind, so to me they’re equal,’ and then walk away.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='’166′'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/246244679″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/246244679″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>A white child might have a good friend who is black, or of other races and ethnicities, “but they don’t really understand how the world treats their friend because they grew up in Berkeley,” she says.\u003c/p>\n\u003cp>\u003cstrong>Tackling Segregation\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 1968, the Berkeley Unified School District was one of the first school districts in the country to voluntarily desegregate. It was 14 years after \u003cem>Brown v. Board of Education\u003c/em>, the Supreme Court ruling that decreed segregation illegal in public schools.\u003c/p>\n\u003cp>Today, the \u003ca href=\"http://www.berkeleyschools.net/about-the-district/about/\">Berkeley Unified School District \u003c/a>takes pride in the diversity of Berkeley schools. However, school administrators, teachers, students and parents all acknowledge that the Berkeley High campus is segregated.\u003c/p>\n\u003cp>One Berkeley parent, who wanted to remain anonymous, says that when she attended the high school in the mid-’70s, the school was divided along racial lines.\u003c/p>\n\u003cp>“As a white teenager at Berkeley High, I really wanted to be friends with the black kids. I wanted to.”\u003c/p>\n\u003cp>Claire Barnes, who is also a Berkeley High alum, remembers a racial climate that was a little bit different when she attended Berkeley High in the late ’70s.\u003c/p>\n\u003cp>“Some kids hung out in one area, some kids hung out in another area. There were certain spots that were turfs, but people intermingled.”\u003c/p>\n\u003cp>Claire Barnes, who sometimes volunteers at the school, says she doesn’t see that as much in the halls these days.\u003c/p>\n\u003cp>“I’m not seeing different races intermingling at the junior or senior level. That’s usually when it happens.”\u003c/p>\n\u003cp>In November, the race issue \u003ca href=\"//ww2.kqed.org/news/2015/12/15/berkeley-high-students-get-real-about-race-on-campus%E2%80%9D\">came to a head\u003c/a> after racist threats were found on a library computer.\u003c/p>\n\u003cp>\u003cstrong>A Wake-Up Call\u003c/strong>\u003c/p>\n\u003cp>“What we learned was that, in some ways, we’re not any better than anyone else,” says Mark Coplan, spokesman for the Berkeley Unified School District.\u003c/p>\n\u003cp>“We’ve always thought and would like to believe that our community is different, but the fact is institutional racism and individual racism surfaces and has to be addressed,” Coplan says.\u003c/p>\n\u003cp>On Dec. 9, 2015, the school dedicated an entire day to talking about racism and racial bias in all classes. But even by the next day, students like Sean Hoffman wanted more.\u003c/p>\n\u003cp>Hoffman, who spoke to KQED after an orchestra concert, says his teachers didn’t keep the conversation about racism and racial bias going on the day after Dec. 9.\u003c/p>\n\u003cp>“I was disappointed, I feel like it was something we should continue talking about and continue pressing as an issue,” says Hoffman, who is a sophomore.\u003c/p>\n\u003cp>Over two months later, students say these issues still aren’t being fully addressed.\u003c/p>\n\u003cfigure id=\"attachment_10862349\" class=\"wp-caption alignleft\" style=\"max-width: 263px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10862349\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/RS18395_IMG_4766-sfi-400x300.jpg\" alt='L to R: Paige Jones, Jordan Corbino and Zamaria Odom are seniors at Berkeley High. \"Its our job to come back and make a difference in the community,\" says Odom.' width=\"263\" height=\"197\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RS18395_IMG_4766-sfi-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/02/RS18395_IMG_4766-sfi.jpg 480w\" sizes=\"(max-width: 263px) 100vw, 263px\">\u003cfigcaption class=\"wp-caption-text\">L to R: Paige Jones, Jordan Corbino and Zamaria Odom are seniors at Berkeley High. ‘It’s our job to come back and make a difference in the community,’ says Odom. \u003ccite>(Adizah Eghan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We kind of stayed on it for a couple of days. We talked about it and then we watched movies about it. But it was blown out of proportion because a couple weeks later we [went] on to the next thing,” says Jordan Corbino one day recently after school. Corbino, who is a senior, sits next to his friend Zamaria Odom.\u003c/p>\n\u003cp>“I think the teachers did a pretty good job of focusing on the issue but after a week or so, the issue was dead, and it didn’t really get handled again. It didn’t really get talked about. It just went back to normal,” Odom says.\u003c/p>\n\u003cp>Friends Sebastien Briddoneau and Elijah Liedeker also really want these conversations to continue in class.\u003c/p>\n\u003cp>“People seemed to have already forgotten about it. Not everyone, but a lot of people, the majority of the Berkeley High population,” Liedeker says.\u003c/p>\n\u003cp>\u003cstrong>Why Aren’t These Conversations About Race Happening?\u003c/strong>\u003c/p>\n\u003cp>Berkeley High parent and PTA member Christine Staples says teachers are under a huge amount of pressure.\u003c/p>\n\u003cp>“Teachers don’t feel equipped to facilitate those kind of conversations. Those are big, far-reaching, long conversations,” she says. “They need help. They need training. I mean, should some random English teacher just start trying to facilitate this conversation?”\u003c/p>\n\u003cp>Some of the teachers who spoke to KQED agreed, but they didn’t want to go on the record for fear of being critical of the administration.\u003c/p>\n\u003cp>“There is support for teachers who might not feel like they have the background, or they have the information themselves. It’s a touchy situation,” says a Berkeley High teacher who would like to remain anonymous. “I’m not sure it’s a class that’s taught. It’s a life experience, so it’s a little fake sometimes to try and teach something without experiencing it.”\u003c/p>\n\u003cp>There are teachers at Berkeley High who are incredibly equipped to talk about race. But that number is small, Coplan says. The district’s goal is to get all teachers on a similar level.\u003c/p>\n\u003cp>“There are individuals who have their own beliefs, their own feelings, and in some cases it’s as simple as they are uncomfortable with the subject because they don’t understand it,” Coplan says.\u003c/p>\n\u003cp>Teacher and professional development coordinator Tamara Friedman says the high school wants to expand on a training session it did last fall on “culturally responsive teaching,” which embeds instruction around racism and anti-racism throughout a teacher’s content and curriculum.\u003c/p>\n\u003cp>\u003cstrong>Black Student Union Still Working on Its List of Demands\u003c/strong>\u003c/p>\n\u003cp>The Black Student Union (BSU) is continuing to push its \u003ca href=\"//afrikanblackcoalition.org/2015/12/21/after-threats-of-a-lynching-berkeley-highs-black-student-union-releases-demands/%E2%80%9D\">list of demands \u003c/a> before the Berkeley school board and Berkeley High administration.\u003c/p>\n\u003cp>At a school board meeting on Jan. 13, BSU co-president Alecia Harger told the board that things have to move more quickly.\u003c/p>\n\u003cp>The BSU wants to get these demands done soon, “so that the people who are freshman now don’t have to go through their entire four years as black students unsupported and feeling unloved and unwanted at Berkeley High,” Harger says.\u003c/p>\n\u003cp>Superintendent Donald Evans says this is a serious priority.\u003c/p>\n\u003cp>“I faced what those kids were talking about when I was in high school and when I was in college. This is personal for me,” he says.\u003c/p>\n\u003cp>Evans and Pasarow are working together to implement \u003ca href=\"//www.berkeleyschools.net/wp-content/uploads/2016/01/V6FinalBUSDSupsResponse.pdf?5759fb&5759fb%E2%80%9D\">immediate to long-term \u003c/a>steps to address the demands.\u003c/p>\n\u003cp>“I feel a lot of healthy pressure as a leader of this school to have this not be a one-off response. We need to have a sustained response,” Pasarow says.\u003c/p>\n\u003cp>But Zamaria Odom says he’s not expecting much before he graduates this year.\u003c/p>\n\u003cp>“Honestly, I don’t think anything is going to change, even when we leave and the next class leaves, because people don’t like to be put out there to make a difference,” Odom says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Instead, Odom believes change will also take former students like him coming back to school to hold the administration accountable.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment wp-att-11316580 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11316580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg\" alt=\"pARTicipate-button-400x400\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>A couple of years ago, Shauna Samora drove by a ceramics studio in downtown San Jose and decided on a whim that it was time to take up pottery again. She hadn’t been at the wheel in 24 years.\u003c/p>\n\u003cp>Samora’s artistic passion provides a much needed break away from the challenges of running a big household. She lives on the border of Milpitas and San Jose with her husband and seven children aged between 10 and 21.\u003c/p>\n\u003cp>“I’ve always loved the fact that when I sit down at the wheel, it takes all of my concentration,” Samora says. “I can’t think of any stray thoughts. I have to become one with that clay. I have to be stable for it and watch it form.”\u003c/p>\n\u003cfigure id=\"attachment_11713537\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/IMG_4868-1-1180x885.jpg\" alt=\"Shauna Samora is the mother of seven children, four of whom she adopted when she married her husband. \" width=\"640\" height=\"480\" class=\"size-large wp-image-11713537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4868-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4868-1-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4868-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4868-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4868-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4868-1-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Shauna Samora is the mother of seven children, four of whom she adopted when she married her husband. \u003ccite>(Photo: Courtesy of Shauna Samora)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Samora attends\u003ca href=\"http://www.higherfirestudios.com/\" target=\"_blank\" rel=\"noopener\"> Higher Fire Clayspace\u003c/a> in downtown San Jose sometimes as often as once a week. She’s even taught some of her children to throw at the wheel so that they can cultivate a creative and therapeutic practice of working with clay. Samora calls her art form “clay therapy.”\u003c/p>\n\u003cp>Listen to Samora’s personal narrative about how she returned to pottery after a long absence and how the art form has changed her life:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/246322668″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=’450′ iframe=”true” /]\u003c/p>\n\u003ch2>Wanna learn to throw a pot?\u003c/h2>\n\u003cp>“Working on the wheel takes people out of their daily routine,” says Dan Dermer, who owns Higher Fire Clayspace, a pottery studio in Downtown San Jose’s SOFA District. “You learn how to focus and concentrate.”\u003c/p>\n\u003cfigure id=\"attachment_11314520\" class=\"wp-caption alignright\" style=\"max-width: 434px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11314520 \" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/DSC_0975-400x268.jpg\" alt=\"DSC_0975\" width=\"434\" height=\"291\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/DSC_0975-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/DSC_0975-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/DSC_0975-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/DSC_0975-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/DSC_0975-1920x1285.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/DSC_0975-960x643.jpg 960w\" sizes=\"(max-width: 434px) 100vw, 434px\">\u003cfigcaption class=\"wp-caption-text\">Dan Dermer is a full-time potter, instructor and studio owner at Higher Fire Clayspace in Downtown San Jose’s SOFA District. \u003ccite>(Courtesy of Dan Dermer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the last year, Dermer says, people have become pretty interested in \u003ca href=\"http://www.nytimes.com/2015/12/17/fashion/why-handmade-ceramics-are-white-hot.html\" target=\"_blank\" rel=\"noopener\">handmade ceramics \u003c/a>. And he’s got a few tips for those who are ready to sink their hands into some clay, but haven’t walked into the studio just yet.\u003c/p>\n\u003cp>\u003cstrong>1. Take the Leap: \u003c/strong>“Go ahead and try it, take a class,” Dermer says. “A lot of people have trouble at first. But throwing clay is like any new skill, it only gets more fun if you stick with it.”\u003c/p>\n\u003cp>\u003cstrong>2. Be Patient: \u003c/strong>“Initially she wasn’t doing very well on the wheel and was frustrated,” Dermer says of one of his students. “I sat down with her and we did a tune up.” Teacher and student worked on some of the basics like centering the clay (moving the clay to the middle of the wheel head so you can throw it), using just the right amount of water, and pulling up the wall (that’s when you raise up the sides of the clay using your hands). “After that tune up, she went on to make close to 100 pieces for Thanksgiving dinner at a homeless shelter,” Dermer says.\u003c/p>\n\u003cp>\u003cstrong>3. Practice, practice, practice:\u003c/strong> “When you practice, you slowly get familiar with the material, how much water to use, where your hands need to be and what details you need to pay attention to,” Dermer says. “You might throw 25 to 30 bowls but only take home 10.”\u003c/p>\n\u003cp>Feeling inspired? Here are some places in the Bay Area where you can learn how to throw your own pot.\u003c/p>\n\u003caside class=\"callout alignright\">\u003cstrong>pARTicipate with us! \u003c/strong>We need your help to make this project bloom. If you have an artistic hobby that you’re passionate about, or know about an artist or organization involved in community art-making, we want to hear from you in any or all of the following ways:\n\u003cul>\n\u003cli>Share an image or video of you (and your friends) participating in your activity\u003c/li>\n\u003cli>Tell us the story of how you got involved in your practice, what it is you do and why it means so much to you\u003c/li>\n\u003cli>Send us information about arts organizations or individual coaches who are helping to bring creativity to your community\u003c/li>\n\u003c/ul>\n\u003cp>\u003cspan style=\"font-weight: 400\">You can reach us in the following ways:\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Email: \u003c/span>\u003ca href=\"mailto:cveltman@kqed.org\">\u003cspan style=\"font-weight: 400\">cveltman@kqed.org\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">Twitter: @KQEDarts and #KQEDparticipate\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Facebook: KQED Arts\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Instagram: @KQEDofficial and #KQEDparticipate\u003c/span>\u003c/p>\n\u003c/aside>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.higherfirestudios.com/\" target=\"_blank\" rel=\"noopener\">Higher Fire Clayspace and Gallery\u003c/a>, San Jose\u003c/strong>\u003cbr>\nA teaching studio and ceramics gallery in Downtown San Jose’s SOFA District.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://thecrucible.org/classes/departments/ceramics-fall/\" target=\"_blank\" rel=\"noopener\">The Crucible\u003c/a>, Oakland\u003c/strong>\u003cbr>\nFor serious makers. This place offers a wide array of classes in the industrial arts, including ceramics.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.berkeleypottersstudio.com/\" target=\"_blank\" rel=\"noopener\">The Potter’s Studio\u003c/a>, Berkeley\u003c/strong>\u003cbr>\nProvides ceramics trainings for serious artists such as how to fire electric and gas kilns and how to mix glazes\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.theclayunderground.com/\" target=\"_blank\" rel=\"noopener\">The Clay Underground\u003c/a>, San Francisco\u003c/strong>\u003cbr>\nWhere pros and amateurs intermingle. Offers plenty of intro classes, plus a BYOB Friday night clay sesh that’s open to all levels.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://sfclayworks.com/\" target=\"_blank\" rel=\"noopener\">sfclayworks\u003c/a>, San Francisco\u003c/strong>\u003cbr>\nA communal place to make art with classes and private studios. Started by a group of clay artists from the former San Francisco art space, The Clay Studio.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://millvalleypottersstudio.com/\" target=\"_blank\" rel=\"noopener\">Mill Valley Potter’s Studio\u003c/a>, Mill Valley\u003c/strong>\u003cbr>\nOffers a wide range of classes for adults, youth, and families as well as workshops taught by guest artists.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment wp-att-11316580 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11316580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg\" alt=\"pARTicipate-button-400x400\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>A couple of years ago, Shauna Samora drove by a ceramics studio in downtown San Jose and decided on a whim that it was time to take up pottery again. She hadn’t been at the wheel in 24 years.\u003c/p>\n\u003cp>Samora’s artistic passion provides a much needed break away from the challenges of running a big household. She lives on the border of Milpitas and San Jose with her husband and seven children aged between 10 and 21.\u003c/p>\n\u003cp>“I’ve always loved the fact that when I sit down at the wheel, it takes all of my concentration,” Samora says. “I can’t think of any stray thoughts. I have to become one with that clay. I have to be stable for it and watch it form.”\u003c/p>\n\u003cfigure id=\"attachment_11713537\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/IMG_4868-1-1180x885.jpg\" alt=\"Shauna Samora is the mother of seven children, four of whom she adopted when she married her husband. \" width=\"640\" height=\"480\" class=\"size-large wp-image-11713537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4868-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4868-1-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4868-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4868-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4868-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/IMG_4868-1-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Shauna Samora is the mother of seven children, four of whom she adopted when she married her husband. \u003ccite>(Photo: Courtesy of Shauna Samora)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Samora attends\u003ca href=\"http://www.higherfirestudios.com/\" target=\"_blank\" rel=\"noopener\"> Higher Fire Clayspace\u003c/a> in downtown San Jose sometimes as often as once a week. She’s even taught some of her children to throw at the wheel so that they can cultivate a creative and therapeutic practice of working with clay. Samora calls her art form “clay therapy.”\u003c/p>\n\u003cp>Listen to Samora’s personal narrative about how she returned to pottery after a long absence and how the art form has changed her life:\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>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='’450′'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/246322668″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/246322668″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003ch2>Wanna learn to throw a pot?\u003c/h2>\n\u003cp>“Working on the wheel takes people out of their daily routine,” says Dan Dermer, who owns Higher Fire Clayspace, a pottery studio in Downtown San Jose’s SOFA District. “You learn how to focus and concentrate.”\u003c/p>\n\u003cfigure id=\"attachment_11314520\" class=\"wp-caption alignright\" style=\"max-width: 434px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11314520 \" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/DSC_0975-400x268.jpg\" alt=\"DSC_0975\" width=\"434\" height=\"291\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/DSC_0975-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/DSC_0975-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/DSC_0975-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/DSC_0975-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/DSC_0975-1920x1285.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/DSC_0975-960x643.jpg 960w\" sizes=\"(max-width: 434px) 100vw, 434px\">\u003cfigcaption class=\"wp-caption-text\">Dan Dermer is a full-time potter, instructor and studio owner at Higher Fire Clayspace in Downtown San Jose’s SOFA District. \u003ccite>(Courtesy of Dan Dermer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the last year, Dermer says, people have become pretty interested in \u003ca href=\"http://www.nytimes.com/2015/12/17/fashion/why-handmade-ceramics-are-white-hot.html\" target=\"_blank\" rel=\"noopener\">handmade ceramics \u003c/a>. And he’s got a few tips for those who are ready to sink their hands into some clay, but haven’t walked into the studio just yet.\u003c/p>\n\u003cp>\u003cstrong>1. Take the Leap: \u003c/strong>“Go ahead and try it, take a class,” Dermer says. “A lot of people have trouble at first. But throwing clay is like any new skill, it only gets more fun if you stick with it.”\u003c/p>\n\u003cp>\u003cstrong>2. Be Patient: \u003c/strong>“Initially she wasn’t doing very well on the wheel and was frustrated,” Dermer says of one of his students. “I sat down with her and we did a tune up.” Teacher and student worked on some of the basics like centering the clay (moving the clay to the middle of the wheel head so you can throw it), using just the right amount of water, and pulling up the wall (that’s when you raise up the sides of the clay using your hands). “After that tune up, she went on to make close to 100 pieces for Thanksgiving dinner at a homeless shelter,” Dermer says.\u003c/p>\n\u003cp>\u003cstrong>3. Practice, practice, practice:\u003c/strong> “When you practice, you slowly get familiar with the material, how much water to use, where your hands need to be and what details you need to pay attention to,” Dermer says. “You might throw 25 to 30 bowls but only take home 10.”\u003c/p>\n\u003cp>Feeling inspired? Here are some places in the Bay Area where you can learn how to throw your own pot.\u003c/p>\n\u003caside class=\"callout alignright\">\u003cstrong>pARTicipate with us! \u003c/strong>We need your help to make this project bloom. If you have an artistic hobby that you’re passionate about, or know about an artist or organization involved in community art-making, we want to hear from you in any or all of the following ways:\n\u003cul>\n\u003cli>Share an image or video of you (and your friends) participating in your activity\u003c/li>\n\u003cli>Tell us the story of how you got involved in your practice, what it is you do and why it means so much to you\u003c/li>\n\u003cli>Send us information about arts organizations or individual coaches who are helping to bring creativity to your community\u003c/li>\n\u003c/ul>\n\u003cp>\u003cspan style=\"font-weight: 400\">You can reach us in the following ways:\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Email: \u003c/span>\u003ca href=\"mailto:cveltman@kqed.org\">\u003cspan style=\"font-weight: 400\">cveltman@kqed.org\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">Twitter: @KQEDarts and #KQEDparticipate\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Facebook: KQED Arts\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Instagram: @KQEDofficial and #KQEDparticipate\u003c/span>\u003c/p>\n\u003c/aside>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.higherfirestudios.com/\" target=\"_blank\" rel=\"noopener\">Higher Fire Clayspace and Gallery\u003c/a>, San Jose\u003c/strong>\u003cbr>\nA teaching studio and ceramics gallery in Downtown San Jose’s SOFA District.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://thecrucible.org/classes/departments/ceramics-fall/\" target=\"_blank\" rel=\"noopener\">The Crucible\u003c/a>, Oakland\u003c/strong>\u003cbr>\nFor serious makers. This place offers a wide array of classes in the industrial arts, including ceramics.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.berkeleypottersstudio.com/\" target=\"_blank\" rel=\"noopener\">The Potter’s Studio\u003c/a>, Berkeley\u003c/strong>\u003cbr>\nProvides ceramics trainings for serious artists such as how to fire electric and gas kilns and how to mix glazes\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.theclayunderground.com/\" target=\"_blank\" rel=\"noopener\">The Clay Underground\u003c/a>, San Francisco\u003c/strong>\u003cbr>\nWhere pros and amateurs intermingle. Offers plenty of intro classes, plus a BYOB Friday night clay sesh that’s open to all levels.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://sfclayworks.com/\" target=\"_blank\" rel=\"noopener\">sfclayworks\u003c/a>, San Francisco\u003c/strong>\u003cbr>\nA communal place to make art with classes and private studios. Started by a group of clay artists from the former San Francisco art space, The Clay Studio.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://millvalleypottersstudio.com/\" target=\"_blank\" rel=\"noopener\">Mill Valley Potter’s Studio\u003c/a>, Mill Valley\u003c/strong>\u003cbr>\nOffers a wide range of classes for adults, youth, and families as well as workshops taught by guest artists.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>From Silicon Valley to Hollywood, Californians lead the world with big ideas. For the latest installment of our “\u003ca href=\"http://ww2.kqed.org/news/series/big-think\">Big Think\u003c/a>” series, we meet \u003ca href=\"http://patrissecullors.com/\">Patrisse Cullors\u003c/a>. She is the director of truth and reinvestment at the \u003ca href=\"http://ellabakercenter.org/\">Ella Baker Center for Human Rights\u003c/a> in Oakland and one of the co-founders of \u003ca href=\"http://blacklivesmatter.com/\">Black Lives Matter\u003c/a>. Her Big Think?\u003c/p>\n\u003cp>“Build a national network of communities to respond to law enforcement violence.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/246038799″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=’166′ iframe=”true” /]\u003c/p>\n\u003cp>Cullors received a $500,000 racial justice grant from Google to help make her Big Think become a reality.\u003c/p>\n\u003ch2>#BlackLivesMatter\u003c/h2>\n\u003cp>The Black Lives Matter movement started with a simple love note. It was the night the \u003ca href=\"http://www.npr.org/sections/thetwo-way/2013/07/13/201918229/judge-to-zimmerman-you-have-no-further-business-with-the-court\">jury acquitted George Zimmerman\u003c/a> of all charges in the 2012 fatal shooting of 17-year-old Trayvon Martin during an altercation in a gated Florida community. Her friend, Alicia Garza, wrote a series of posts on Facebook that were intended to be an open letter to black people:\u003c/p>\n\u003cblockquote>\u003cp>Where those folks at saying we are in post-racial America? where those folks at saying we have moved past race and that black folks in particular need to get over it? the sad part is, there’s a section of America who is cheering and celebrating right now. and that makes me sick to my stomach. we GOTTA get it together y’all. Our lives are hanging in the balance. Young black boys in this country are not safe. Black men in this country are not safe. This verdict will create many more George Zimmermans.\u003c/p>\u003c/blockquote>\n\u003cp>And also:\u003c/p>\n\u003cblockquote>\u003cp>black people. I love you. I love us. Our lives matter.\u003c/p>\u003c/blockquote>\n\u003cp>Cullors says she saw that love note and hash-tagged it. She then “used that hashtag over the next several hours to really just love on black people, and pretty quickly thereafter myself and Alicia spoke and said we need to build this out as a project.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>According to Cullors, #BlackLivesMatter is an affirmation that embraces the resistance and resilience of black people. It is also a rallying cry to defend black life and create successful black futures.\u003c/p>\n\u003cfigure id=\"attachment_10848115\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/patrisse_blm.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/patrisse_blm-800x449.jpg\" alt=\"L to R: Opal Tometi, Alicia Garza, and Patrisse Cullors co-founded #BlackLivesMatter.\" width=\"800\" height=\"449\" class=\"size-medium wp-image-10848115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/01/patrisse_blm.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/01/patrisse_blm-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/01/patrisse_blm-768x431.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">L to R: Opal Tometi, Alicia Garza, and Patrisse Cullors co-founded #BlackLivesMatter. \u003ccite>(Photo courtesy of Patrisse Cullors)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A movement began to bubble up, as videos suggesting the use of excessive police force on unarmed black men went viral. There was the death of \u003ca href=\"http://www.nytimes.com/2014/07/19/nyregion/staten-island-man-dies-after-he-is-put-in-chokehold-during-arrest.html?_r=0\">Eric Garner\u003c/a> and then the fatal shooting of \u003ca href=\"http://www.npr.org/sections/thetwo-way/2014/08/10/339334625/st-louis-police-black-teen-shot-in-altercation-with-officers\">Michael Brown\u003c/a>.\u003c/p>\n\u003cp>Not to mention, the deaths of black women like \u003ca href=\"http://www.nytimes.com/2013/11/11/us/in-detroit-protests-of-shooting-of-woman-who-sought-help.html\">Renisha McBride\u003c/a>, who was shot on the porch of a suburban home when she sought help after she had car trouble, and \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/07/21/424909760/death-of-woman-found-hanged-in-texas-jail-cell-will-be-investigated-as-murder\">Sandra Bland\u003c/a>, who was found dead in her jail cell.\u003c/p>\n\u003cp>Suddenly people all over the world were talking about Black Lives Matter and using the hashtag.\u003c/p>\n\u003cp>But what about all the other people who face law enforcement violence — who don’t have a video. Where do they turn?\u003c/p>\n\u003ch2>How Should Black and Brown Communities Handle Law Enforcement Violence?\u003c/h2>\n\u003cp>Growing up, Cullors says, she witnessed a significant amount of policing and police repression in her Van Nuys neighborhood.\u003c/p>\n\u003cp>“My brother was almost killed by the Sheriff’s Department when he was 19 years old inside of the L.A. County jails. And my mother had nowhere to go. She called the Sheriff’s Department over and over again and they sent her in circles.”\u003c/p>\n\u003cp>This experience is part of the reason why Cullors wants to create a network of rapid responders to help people deal with law enforcement violence. That includes violence at the hand of the police, FBI, ICE officers, California Highway Patrol and correctional officers.\u003c/p>\n\u003cp>[contextly_sidebar id=”Jr3BGiagOQNhfhKXPRC3OReUOIUrFLiQ”]\u003c/p>\n\u003cp>“We know what to do if an earthquake happens in California. People know what to do if a tornado happens. But what happens when your loved one is killed by the police? When your loved one is killed in a jail cell?” Cullors says.\u003c/p>\n\u003cp>“We don’t know what to do. We’ve seen it time and time again. Families are at a loss. They don’t know who to talk to, they don’t know who to go to because, you don’t go to your murderer to have them give you justice.”\u003c/p>\n\u003cp>Black and brown communities can’t rely on law enforcement to protect black and brown bodies, says Cullors.\u003c/p>\n\u003cp>“If your loved one is harmed or killed by law enforcement, if they’re illegally arrested, if there’s a raid on your home, you will be able to call a hotline number that will be staffed 24/7 that can help you navigate the system.”\u003c/p>\n\u003cp>What makes her idea different is that the rapid responders will be people who live in the community and understand what it’s like to face law enforcement violence firsthand.\u003c/p>\n\u003cp>“It will be a multiracial justice team. Allies can definitely play a role. But really the point is people who are directly impacted, and that often looks like black and brown people, and poor people.”\u003c/p>\n\u003cp>She imagines the first responders could help victims file a complaint against the police. And if the complaint isn’t getting attention, they could help stage a protest in the neighborhood or organize to demand that the officer is fired.\u003c/p>\n\u003cp>Cullors has already \u003ca href=\"https://www.mobilejusticeca.org/caravan/\">mobilized the teams\u003c/a>. They are all over the state, from Sacramento to Orange County (and in between in Oakland, Stockton, Fresno, Salinas, Los Angeles and San Diego). The next step is to train the teams of rapid responders.\u003c/p>\n\u003ch2>A Platform to Focus Black Voices\u003c/h2>\n\u003cp>She’s also creating a social media platform specific to issues of law enforcement violence and mass incarceration. It will expand the \u003ca href=\"https://www.mobilejusticeca.org/\">Mobile Justice app\u003c/a> that the ACLU and Ella Baker Center created. It allows people to send a recording of questionable police activity directly to the ACLU.\u003c/p>\n\u003cp>“\u003ca href=\"http://www.pewinternet.org/2014/01/06/african-americans-and-technology-use/\">We use Twitter and Facebook\u003c/a> to talk about \u003ca href=\"http://ww2.kqed.org/news/2015/10/19/is-the-internet-changing-the-way-we-talk-about-race\">our stories\u003c/a>, but we don’t own Twitter or Facebook. We need a social media platform that’s owned by the community, sourced by the community and where we know that if we put up our own images and videos, that we own it. This social media platform can’t bring it down.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Cullors hopes that one day people all over the world will use the platform to organize. And the teams will help create more caring, healthy and safe communities for people of color all over the state.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From Silicon Valley to Hollywood, Californians lead the world with big ideas. For the latest installment of our “\u003ca href=\"http://ww2.kqed.org/news/series/big-think\">Big Think\u003c/a>” series, we meet \u003ca href=\"http://patrissecullors.com/\">Patrisse Cullors\u003c/a>. She is the director of truth and reinvestment at the \u003ca href=\"http://ellabakercenter.org/\">Ella Baker Center for Human Rights\u003c/a> in Oakland and one of the co-founders of \u003ca href=\"http://blacklivesmatter.com/\">Black Lives Matter\u003c/a>. Her Big Think?\u003c/p>\n\u003cp>“Build a national network of communities to respond to law enforcement violence.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='’166′'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/246038799″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/246038799″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Cullors received a $500,000 racial justice grant from Google to help make her Big Think become a reality.\u003c/p>\n\u003ch2>#BlackLivesMatter\u003c/h2>\n\u003cp>The Black Lives Matter movement started with a simple love note. It was the night the \u003ca href=\"http://www.npr.org/sections/thetwo-way/2013/07/13/201918229/judge-to-zimmerman-you-have-no-further-business-with-the-court\">jury acquitted George Zimmerman\u003c/a> of all charges in the 2012 fatal shooting of 17-year-old Trayvon Martin during an altercation in a gated Florida community. Her friend, Alicia Garza, wrote a series of posts on Facebook that were intended to be an open letter to black people:\u003c/p>\n\u003cblockquote>\u003cp>Where those folks at saying we are in post-racial America? where those folks at saying we have moved past race and that black folks in particular need to get over it? the sad part is, there’s a section of America who is cheering and celebrating right now. and that makes me sick to my stomach. we GOTTA get it together y’all. Our lives are hanging in the balance. Young black boys in this country are not safe. Black men in this country are not safe. This verdict will create many more George Zimmermans.\u003c/p>\u003c/blockquote>\n\u003cp>And also:\u003c/p>\n\u003cblockquote>\u003cp>black people. I love you. I love us. Our lives matter.\u003c/p>\u003c/blockquote>\n\u003cp>Cullors says she saw that love note and hash-tagged it. She then “used that hashtag over the next several hours to really just love on black people, and pretty quickly thereafter myself and Alicia spoke and said we need to build this out as a project.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>According to Cullors, #BlackLivesMatter is an affirmation that embraces the resistance and resilience of black people. It is also a rallying cry to defend black life and create successful black futures.\u003c/p>\n\u003cfigure id=\"attachment_10848115\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/patrisse_blm.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/01/patrisse_blm-800x449.jpg\" alt=\"L to R: Opal Tometi, Alicia Garza, and Patrisse Cullors co-founded #BlackLivesMatter.\" width=\"800\" height=\"449\" class=\"size-medium wp-image-10848115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2016/01/patrisse_blm.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/01/patrisse_blm-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2016/01/patrisse_blm-768x431.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">L to R: Opal Tometi, Alicia Garza, and Patrisse Cullors co-founded #BlackLivesMatter. \u003ccite>(Photo courtesy of Patrisse Cullors)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A movement began to bubble up, as videos suggesting the use of excessive police force on unarmed black men went viral. There was the death of \u003ca href=\"http://www.nytimes.com/2014/07/19/nyregion/staten-island-man-dies-after-he-is-put-in-chokehold-during-arrest.html?_r=0\">Eric Garner\u003c/a> and then the fatal shooting of \u003ca href=\"http://www.npr.org/sections/thetwo-way/2014/08/10/339334625/st-louis-police-black-teen-shot-in-altercation-with-officers\">Michael Brown\u003c/a>.\u003c/p>\n\u003cp>Not to mention, the deaths of black women like \u003ca href=\"http://www.nytimes.com/2013/11/11/us/in-detroit-protests-of-shooting-of-woman-who-sought-help.html\">Renisha McBride\u003c/a>, who was shot on the porch of a suburban home when she sought help after she had car trouble, and \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/07/21/424909760/death-of-woman-found-hanged-in-texas-jail-cell-will-be-investigated-as-murder\">Sandra Bland\u003c/a>, who was found dead in her jail cell.\u003c/p>\n\u003cp>Suddenly people all over the world were talking about Black Lives Matter and using the hashtag.\u003c/p>\n\u003cp>But what about all the other people who face law enforcement violence — who don’t have a video. Where do they turn?\u003c/p>\n\u003ch2>How Should Black and Brown Communities Handle Law Enforcement Violence?\u003c/h2>\n\u003cp>Growing up, Cullors says, she witnessed a significant amount of policing and police repression in her Van Nuys neighborhood.\u003c/p>\n\u003cp>“My brother was almost killed by the Sheriff’s Department when he was 19 years old inside of the L.A. County jails. And my mother had nowhere to go. She called the Sheriff’s Department over and over again and they sent her in circles.”\u003c/p>\n\u003cp>This experience is part of the reason why Cullors wants to create a network of rapid responders to help people deal with law enforcement violence. That includes violence at the hand of the police, FBI, ICE officers, California Highway Patrol and correctional officers.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“We know what to do if an earthquake happens in California. People know what to do if a tornado happens. But what happens when your loved one is killed by the police? When your loved one is killed in a jail cell?” Cullors says.\u003c/p>\n\u003cp>“We don’t know what to do. We’ve seen it time and time again. Families are at a loss. They don’t know who to talk to, they don’t know who to go to because, you don’t go to your murderer to have them give you justice.”\u003c/p>\n\u003cp>Black and brown communities can’t rely on law enforcement to protect black and brown bodies, says Cullors.\u003c/p>\n\u003cp>“If your loved one is harmed or killed by law enforcement, if they’re illegally arrested, if there’s a raid on your home, you will be able to call a hotline number that will be staffed 24/7 that can help you navigate the system.”\u003c/p>\n\u003cp>What makes her idea different is that the rapid responders will be people who live in the community and understand what it’s like to face law enforcement violence firsthand.\u003c/p>\n\u003cp>“It will be a multiracial justice team. Allies can definitely play a role. But really the point is people who are directly impacted, and that often looks like black and brown people, and poor people.”\u003c/p>\n\u003cp>She imagines the first responders could help victims file a complaint against the police. And if the complaint isn’t getting attention, they could help stage a protest in the neighborhood or organize to demand that the officer is fired.\u003c/p>\n\u003cp>Cullors has already \u003ca href=\"https://www.mobilejusticeca.org/caravan/\">mobilized the teams\u003c/a>. They are all over the state, from Sacramento to Orange County (and in between in Oakland, Stockton, Fresno, Salinas, Los Angeles and San Diego). The next step is to train the teams of rapid responders.\u003c/p>\n\u003ch2>A Platform to Focus Black Voices\u003c/h2>\n\u003cp>She’s also creating a social media platform specific to issues of law enforcement violence and mass incarceration. It will expand the \u003ca href=\"https://www.mobilejusticeca.org/\">Mobile Justice app\u003c/a> that the ACLU and Ella Baker Center created. It allows people to send a recording of questionable police activity directly to the ACLU.\u003c/p>\n\u003cp>“\u003ca href=\"http://www.pewinternet.org/2014/01/06/african-americans-and-technology-use/\">We use Twitter and Facebook\u003c/a> to talk about \u003ca href=\"http://ww2.kqed.org/news/2015/10/19/is-the-internet-changing-the-way-we-talk-about-race\">our stories\u003c/a>, but we don’t own Twitter or Facebook. We need a social media platform that’s owned by the community, sourced by the community and where we know that if we put up our own images and videos, that we own it. This social media platform can’t bring it down.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>At software company \u003ca href=\"http://ww2.kqed.org/futureofyou/2015/06/05/at-autodesk-makers-explore-how-3-d-printing-is-transforming-medicine/\" target=\"_blank\" rel=\"noopener\">Autodesk\u003c/a> at San Francisco’s Pier 9, the 3D printers are humming. Here, people print all kinds of things, like biofabrics, prosthetic limbs, toys, jewelry and gadgets.\u003c/p>\n\u003cfigure id=\"attachment_11228541\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11228541\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/File_000-1-800x600.jpeg\" alt=\"Morehshin Allahyari waits for a print to finish at Autodesk in San Francisco. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/File_000-1-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/File_000-1-400x300.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/File_000-1-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/File_000-1-1180x885.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/File_000-1-1920x1440.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/File_000-1-960x720.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Morehshin Allahyari waits for a print to finish at Autodesk in San Francisco. \u003ccite>(Photo: Adizah Eghan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But resident artist \u003ca href=\"http://www.morehshin.com/\" target=\"_blank\" rel=\"noopener\">Morehshin Allahyari\u003c/a> is using the technology to re-create a stone statue that’s over 2,000 years old.\u003c/p>\n\u003cp>It’s a chilly December afternoon, but it’s warm inside the 3D printing room. Allahyari stands at the waist-high printer in a black dress, purple tights and combat boots. Her face is framed by her short hair.\u003c/p>\n\u003cp>The printer’s UV light goes back and forth. Each movement delivers a single layer of liquid resin that quickly hardens from the UV rays. A translucent statue begins to take shape.\u003c/p>\n\u003cp>The statue is a miniature model of a life-size female figure that stood outside of the Mosul Museum in Iraq. This was before ISIS destroyed the statue along with other Hatrene sculptures and Assyrian artifacts using sledgehammers and power tools last February.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SS9yLgJ4sqo\u003c/p>\n\u003cp>In her project \u003cem>Material Speculation,\u003c/em> Allahyari is 3D modeling and printing some of those statues and artifacts that \u003ca href=\"http://news.nationalgeographic.com/2015/09/150901-isis-destruction-looting-ancient-sites-iraq-syria-archaeology/\" target=\"_blank\" rel=\"noopener\">ISIS destroyed.\u003c/a>\u003c/p>\n\u003cp>Over the past couple of years ISIS has looted and damaged over \u003ca href=\"http://www.aljazeera.com/news/2015/03/full-story-isil-takeover-mosul-museum-150309053022129.html\" target=\"_blank\" rel=\"noopener\">42 historical and archaeological sites\u003c/a>, some dating back as early as 7th century BCE. They’ve also burned books in Mosul libraries and destroyed artifacts at the archaeological site at Nimrud. The terrorist group claims these statues and figures promote idolatry. Not to mention, they are also seeking attention from the pieces they destroy and profit from the goods that they loot from these sites.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/241991695″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>“[ISIS is] trying to remove this rich history in order to start afresh and also to remove any kind of interethnic interactions,” Pamela Karimi, professor of Middle Eastern art at the University of Massachusetts, Dartmouth, says.\u003c/p>\n\u003cfigure id=\"attachment_11228542\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11228542\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Lamassu--800x563.jpg\" alt=\"The large winged human-headed bull known as Lamassu was one of the artifacts ISIS destroyed in February.\" width=\"800\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Lamassu--800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Lamassu--400x282.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Lamassu--768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Lamassu--960x676.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Lamassu-.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The large winged human-headed bull known as Lamassu was one of the artifacts ISIS destroyed in February. \u003ccite>(Courtesy: Morehshin Allahyari)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Allahyari says her work is about re-establishing that connection to parts of the Middle East that have been separated by conflict.\u003c/p>\n\u003cp>“I’m originally from Iran. these artifacts are from Iraq. But these are all older, from 2,500 – 3,000 years ago, and this is when history was shared between all these countries,” says Allahyari.\u003c/p>\n\u003cp>Karimi says terrorists have destroyed historical artifacts in many parts of the world. But the destruction of sites in the Middle East is particularly significant.\u003c/p>\n\u003cp>“So the Middle East is where the world’s first cities emerged and the world’s first governmental entities were first introduced,” she says.\u003c/p>\n\u003cfigure id=\"attachment_11228424\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11228424\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/King-Uthal-800x563.jpg\" alt=\"King Uthal from Hatra, also destroyed in February. Hatrene sculptures have been chronically understudied.\" width=\"800\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/King-Uthal-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/King-Uthal-400x282.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/King-Uthal-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/King-Uthal-960x676.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/King-Uthal.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">King Uthal from Hatra, also destroyed in February. Hatrene sculptures have been chronically understudied. \u003ccite>(Courtesy: Morehshin Allahyari)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Allahyari says there was little information to draw from when she first set out to do her project. Wanting to address this issue for future generations, she turns her own works in tiny time capsules. She’s inserted a thumb drive loaded with PDF files, maps and other research relating to the destroyed artifacts inside each one.\u003c/p>\n\u003cp>“This is basically the way to go in the future: to not only create a nostalgic art work that reminds us what’s happening, but something that provides solutions for how you preserve the memory for future generations,” Karimi, a supporter of Allahyari, says.\u003c/p>\n\u003cp>\u003cstrong>How It’s Done\u003c/strong>\u003c/p>\n\u003cp>To make these to-scale statues Allahyari had to find images online and use them as source material to 3D model the artifacts. For most 3D models, people take hundreds of pictures of one item. Allahyari doesn’t have that luxury because the items she is modeling no longer exist, so she uses Flickr.\u003c/p>\n\u003cp>After creating a 3D model, she runs it through different software programs to fix meshes and errors. Then she does a test print to make sure everything looks good before printing the final model.\u003c/p>\n\u003cfigure id=\"attachment_11228654\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11228654\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/IMG_4346-1-1180x885.jpg\" alt='A model of a female figure that stood outside of the Mosul Museum in Iraq. \"You can think about them as a technology and a way to resist the removal of history,\" says Allahyari.' width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_4346-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_4346-1-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_4346-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_4346-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_4346-1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_4346-1-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A model of a female figure that stood outside of the Mosul Museum in Iraq. “You can think about them as a technology and a way to resist the removal of history,” says Allahyari. \u003ccite>(Photo: Adizah Eghan/KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The most recent additions to \u003cem>Material Speculation\u003c/em> delve deep into ISIS’ social and cultural destruction of female forms in life and physically as sculptures.\u003c/p>\n\u003cp>“There’s this whole thing about violence against women which is part of what’s happening with ISIS,” Allahyari says. “But it’s actually not talked about as much as other things.”\u003c/p>\n\u003cp>Allahyari hopes to see her work displayed at the Mosul Museum in someday. The building is still standing but Baghdad, where it resides, is \u003ca href=\"http://www.kqed.org/a/forum/R201512290900\" target=\"_blank\" rel=\"noopener\">ISIS territory\u003c/a>, so no one can go in or out.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Allahyari’s pieces will be featured in the show Archive Fever: Future Imaginings of Things Past at \u003ca href=\"http://www.b4bel4b.com/\" target=\"_blank\" rel=\"noopener\">B4BEL4B\u003c/a> art gallery in Oakland starting January 16th until the end of February.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At software company \u003ca href=\"http://ww2.kqed.org/futureofyou/2015/06/05/at-autodesk-makers-explore-how-3-d-printing-is-transforming-medicine/\" target=\"_blank\" rel=\"noopener\">Autodesk\u003c/a> at San Francisco’s Pier 9, the 3D printers are humming. Here, people print all kinds of things, like biofabrics, prosthetic limbs, toys, jewelry and gadgets.\u003c/p>\n\u003cfigure id=\"attachment_11228541\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11228541\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/File_000-1-800x600.jpeg\" alt=\"Morehshin Allahyari waits for a print to finish at Autodesk in San Francisco. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/File_000-1-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/File_000-1-400x300.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/File_000-1-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/File_000-1-1180x885.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/File_000-1-1920x1440.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/File_000-1-960x720.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Morehshin Allahyari waits for a print to finish at Autodesk in San Francisco. \u003ccite>(Photo: Adizah Eghan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But resident artist \u003ca href=\"http://www.morehshin.com/\" target=\"_blank\" rel=\"noopener\">Morehshin Allahyari\u003c/a> is using the technology to re-create a stone statue that’s over 2,000 years old.\u003c/p>\n\u003cp>It’s a chilly December afternoon, but it’s warm inside the 3D printing room. Allahyari stands at the waist-high printer in a black dress, purple tights and combat boots. Her face is framed by her short hair.\u003c/p>\n\u003cp>The printer’s UV light goes back and forth. Each movement delivers a single layer of liquid resin that quickly hardens from the UV rays. A translucent statue begins to take shape.\u003c/p>\n\u003cp>The statue is a miniature model of a life-size female figure that stood outside of the Mosul Museum in Iraq. This was before ISIS destroyed the statue along with other Hatrene sculptures and Assyrian artifacts using sledgehammers and power tools last February.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/SS9yLgJ4sqo'\n title='//www.youtube.com/embed/SS9yLgJ4sqo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In her project \u003cem>Material Speculation,\u003c/em> Allahyari is 3D modeling and printing some of those statues and artifacts that \u003ca href=\"http://news.nationalgeographic.com/2015/09/150901-isis-destruction-looting-ancient-sites-iraq-syria-archaeology/\" target=\"_blank\" rel=\"noopener\">ISIS destroyed.\u003c/a>\u003c/p>\n\u003cp>Over the past couple of years ISIS has looted and damaged over \u003ca href=\"http://www.aljazeera.com/news/2015/03/full-story-isil-takeover-mosul-museum-150309053022129.html\" target=\"_blank\" rel=\"noopener\">42 historical and archaeological sites\u003c/a>, some dating back as early as 7th century BCE. They’ve also burned books in Mosul libraries and destroyed artifacts at the archaeological site at Nimrud. The terrorist group claims these statues and figures promote idolatry. Not to mention, they are also seeking attention from the pieces they destroy and profit from the goods that they loot from these sites.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/241991695″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/241991695″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“[ISIS is] trying to remove this rich history in order to start afresh and also to remove any kind of interethnic interactions,” Pamela Karimi, professor of Middle Eastern art at the University of Massachusetts, Dartmouth, says.\u003c/p>\n\u003cfigure id=\"attachment_11228542\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11228542\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Lamassu--800x563.jpg\" alt=\"The large winged human-headed bull known as Lamassu was one of the artifacts ISIS destroyed in February.\" width=\"800\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Lamassu--800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Lamassu--400x282.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Lamassu--768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Lamassu--960x676.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Lamassu-.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The large winged human-headed bull known as Lamassu was one of the artifacts ISIS destroyed in February. \u003ccite>(Courtesy: Morehshin Allahyari)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Allahyari says her work is about re-establishing that connection to parts of the Middle East that have been separated by conflict.\u003c/p>\n\u003cp>“I’m originally from Iran. these artifacts are from Iraq. But these are all older, from 2,500 – 3,000 years ago, and this is when history was shared between all these countries,” says Allahyari.\u003c/p>\n\u003cp>Karimi says terrorists have destroyed historical artifacts in many parts of the world. But the destruction of sites in the Middle East is particularly significant.\u003c/p>\n\u003cp>“So the Middle East is where the world’s first cities emerged and the world’s first governmental entities were first introduced,” she says.\u003c/p>\n\u003cfigure id=\"attachment_11228424\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11228424\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/King-Uthal-800x563.jpg\" alt=\"King Uthal from Hatra, also destroyed in February. Hatrene sculptures have been chronically understudied.\" width=\"800\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/King-Uthal-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/King-Uthal-400x282.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/King-Uthal-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/King-Uthal-960x676.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/King-Uthal.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">King Uthal from Hatra, also destroyed in February. Hatrene sculptures have been chronically understudied. \u003ccite>(Courtesy: Morehshin Allahyari)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Allahyari says there was little information to draw from when she first set out to do her project. Wanting to address this issue for future generations, she turns her own works in tiny time capsules. She’s inserted a thumb drive loaded with PDF files, maps and other research relating to the destroyed artifacts inside each one.\u003c/p>\n\u003cp>“This is basically the way to go in the future: to not only create a nostalgic art work that reminds us what’s happening, but something that provides solutions for how you preserve the memory for future generations,” Karimi, a supporter of Allahyari, says.\u003c/p>\n\u003cp>\u003cstrong>How It’s Done\u003c/strong>\u003c/p>\n\u003cp>To make these to-scale statues Allahyari had to find images online and use them as source material to 3D model the artifacts. For most 3D models, people take hundreds of pictures of one item. Allahyari doesn’t have that luxury because the items she is modeling no longer exist, so she uses Flickr.\u003c/p>\n\u003cp>After creating a 3D model, she runs it through different software programs to fix meshes and errors. Then she does a test print to make sure everything looks good before printing the final model.\u003c/p>\n\u003cfigure id=\"attachment_11228654\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11228654\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/IMG_4346-1-1180x885.jpg\" alt='A model of a female figure that stood outside of the Mosul Museum in Iraq. \"You can think about them as a technology and a way to resist the removal of history,\" says Allahyari.' width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_4346-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_4346-1-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_4346-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_4346-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_4346-1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_4346-1-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">A model of a female figure that stood outside of the Mosul Museum in Iraq. “You can think about them as a technology and a way to resist the removal of history,” says Allahyari. \u003ccite>(Photo: Adizah Eghan/KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The most recent additions to \u003cem>Material Speculation\u003c/em> delve deep into ISIS’ social and cultural destruction of female forms in life and physically as sculptures.\u003c/p>\n\u003cp>“There’s this whole thing about violence against women which is part of what’s happening with ISIS,” Allahyari says. “But it’s actually not talked about as much as other things.”\u003c/p>\n\u003cp>Allahyari hopes to see her work displayed at the Mosul Museum in someday. The building is still standing but Baghdad, where it resides, is \u003ca href=\"http://www.kqed.org/a/forum/R201512290900\" target=\"_blank\" rel=\"noopener\">ISIS territory\u003c/a>, so no one can go in or out.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Allahyari’s pieces will be featured in the show Archive Fever: Future Imaginings of Things Past at \u003ca href=\"http://www.b4bel4b.com/\" target=\"_blank\" rel=\"noopener\">B4BEL4B\u003c/a> art gallery in Oakland starting January 16th until the end of February.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "New Efforts to Provide a Stable Foster Care System for California Youth",
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"content": "\u003cp>There are more than 60,000 children in foster care in California. Serving their needs depends largely on finding foster parents who can provide them with stable housing and care.\u003c/p>\n\u003cp>In her teens, \u003ca href=\"http://www.kqed.org/a/forum/R201512111000\">Jennifer Rodriguez \u003c/a>bounced between group homes, youth shelters and juvenile hall. Growing up, she says, her mother was a paranoid schizophrenic and her father was incarcerated. As a foster youth, Rodriguez says she was often described as manipulative. She would frequently run away, get into fights, and spend time in psychiatric hospitals.\u003c/p>\n\u003cp>These were her coping and surviving mechanisms, she now says. She used them as a way of dealing with life in the system. Now Rodriguez has a law degree and runs a nonprofit that works to improve foster care. The scrappy qualities that she used to survive as a foster youth are today valued in her profession as an advocate.\u003c/p>\n\u003cp>\"That experience of never being parented and not growing up with a family had the greatest impact,\" she says.\u003c/p>\n\u003cfigure id=\"attachment_10813740\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"size-large wp-image-10813740\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/JenniferRodriguezcropped-1440x809.jpg\" alt=\"In her teens, Jennifer Rodriguez bounced between foster group homes, youth shelters and juvenile hall. \" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/JenniferRodriguezcropped-1440x809.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/JenniferRodriguezcropped-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/JenniferRodriguezcropped-800x449.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/JenniferRodriguezcropped-768x431.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/JenniferRodriguezcropped-1920x1078.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/JenniferRodriguezcropped-1180x663.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/JenniferRodriguezcropped-960x539.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/JenniferRodriguezcropped.jpg 1923w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">In her teens, Jennifer Rodriguez bounced between foster group homes, youth shelters and juvenile hall. \u003ccite>(Courtesy of Jennifer Rodriguez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/239471442\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>Rodriguez never was allowed to live with a foster family because of her behavioral issues. Like many foster teens, she had to live in group homes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"Fundamentally the thing that children need most in order to heal and to thrive is that relationship with an adult who loves them.\"\u003c/p>\n\u003cp>\u003cstrong>Phasing Out Group Homes\u003c/strong>\u003c/p>\n\u003cp>In October, Governor Jerry Brown signed a law intended to scale back the use of group homes by the state's foster care system. Instead of leaving foster youth to the care of the staff in a group home, \u003ca href=\"http://www.kqed.org/a/forum/R201512140900\">Assembly Bill 403\u003c/a> (AB 403), will place children more quickly into foster families.\u003c/p>\n\u003cp>Foster youth will stay at treatment centers for a maximum of six months and group homes will be officially be phased out around 2021. These treatment centers are designed to better fuse the services of the mental health and child welfare systems.\u003c/p>\n\u003cp>The new law goes into effect in January as part of a larger framework called the \u003ca title=\"View What is California's Continuum of Care Reform on Scribd\" href=\"http://www.scribd.com/doc/293252033\">Continuum of Care Reform.\u003c/a>\u003c/p>\n\u003cp>Sylvia Deport, who is deputy director of the Human Services Agency of San Francisco, says this is a big undertaking and will require recruiting, finding and securing families who are willing to provide an adequate level of care for foster youth.\u003c/p>\n\u003cp>\"We want to make sure that kids transition out to be successful adults in our society,\" she says.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/239471440\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>\u003cstrong>Aging Out of Foster Care\u003c/strong>\u003c/p>\n\u003cp>According to \u003ca href=\"http://www.cafosteringconnections.org/wp2/wp-content/uploads/2014/09/Extending-Foster-Care-to-Age-21-LA-Urban-Institute.pdf\">a 2009 Report from the Urban Institute,\u003c/a> one in five foster care youth will become homeless after the age 18, and one in four will be involved in the justice system within two years of aging out of the child welfare system. Those numbers prompted \u003ca href=\"http://www.kqed.org/a/forum/R201512211000\">California to extend the age foster youth receive benefits to 21\u003c/a>.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/239867259\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>Twenty-year-old Noel Anaya has been in foster care since he was 4 years old.\u003c/p>\n\u003cp>\"When I was 18, I realized, that I had [this year] plus a year to go. So after high school, [I] figured out a game plan, you know go to college.\"\u003c/p>\n\u003cp>But sticking to a game plan is difficult he says. Foster youth often have to worry about things that might not even cross the mind of a privileged youth who is the same age.\u003c/p>\n\u003cp>\"You go through a midlife crisis at the age of 18, 19, 20, because you're like, 'Oh my God is my credit good, is my housing stable, [are] my funds right?\"\u003c/p>\n\u003cp>\u003cstrong>Choosing to Be a Foster Parent\u003c/strong>\u003c/p>\n\u003cp>There's a lot of paperwork, home study and licensing that goes into becoming a foster parent. But Sheri Justice-Cook says even though the job is challenging, it's also fulfilling and important. Justice-Cook is currently fostering two children and a legal guardian of two other children.\u003c/p>\n\u003cp>\"They need socialization skills. A lot of the children didn't have limits and boundaries set upon them prior to entering into foster care. It's not just difficult for the foster parents, it's difficult for the kids. Just imagine being snatched out of your house and taken to a strange person's house.\"\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/239872180\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>She says being a foster parent is a two way street -- it's hard for both the parents and the kids.\u003c/p>\n\u003cp>\"A lot of children have a hard time attaching with us because they feel disloyal to their parents, you know. You have strangers telling you what to do.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>She says it's the foster parents' job to assist the child and do the best they can to help the child go home or get adopted.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are more than 60,000 children in foster care in California. Serving their needs depends largely on finding foster parents who can provide them with stable housing and care.\u003c/p>\n\u003cp>In her teens, \u003ca href=\"http://www.kqed.org/a/forum/R201512111000\">Jennifer Rodriguez \u003c/a>bounced between group homes, youth shelters and juvenile hall. Growing up, she says, her mother was a paranoid schizophrenic and her father was incarcerated. As a foster youth, Rodriguez says she was often described as manipulative. She would frequently run away, get into fights, and spend time in psychiatric hospitals.\u003c/p>\n\u003cp>These were her coping and surviving mechanisms, she now says. She used them as a way of dealing with life in the system. Now Rodriguez has a law degree and runs a nonprofit that works to improve foster care. The scrappy qualities that she used to survive as a foster youth are today valued in her profession as an advocate.\u003c/p>\n\u003cp>\"That experience of never being parented and not growing up with a family had the greatest impact,\" she says.\u003c/p>\n\u003cfigure id=\"attachment_10813740\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg class=\"size-large wp-image-10813740\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/JenniferRodriguezcropped-1440x809.jpg\" alt=\"In her teens, Jennifer Rodriguez bounced between foster group homes, youth shelters and juvenile hall. \" width=\"640\" height=\"360\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/JenniferRodriguezcropped-1440x809.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/JenniferRodriguezcropped-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/JenniferRodriguezcropped-800x449.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/JenniferRodriguezcropped-768x431.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/JenniferRodriguezcropped-1920x1078.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/JenniferRodriguezcropped-1180x663.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/JenniferRodriguezcropped-960x539.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/JenniferRodriguezcropped.jpg 1923w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">In her teens, Jennifer Rodriguez bounced between foster group homes, youth shelters and juvenile hall. \u003ccite>(Courtesy of Jennifer Rodriguez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/239471442&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/239471442'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Rodriguez never was allowed to live with a foster family because of her behavioral issues. Like many foster teens, she had to live in group homes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"Fundamentally the thing that children need most in order to heal and to thrive is that relationship with an adult who loves them.\"\u003c/p>\n\u003cp>\u003cstrong>Phasing Out Group Homes\u003c/strong>\u003c/p>\n\u003cp>In October, Governor Jerry Brown signed a law intended to scale back the use of group homes by the state's foster care system. Instead of leaving foster youth to the care of the staff in a group home, \u003ca href=\"http://www.kqed.org/a/forum/R201512140900\">Assembly Bill 403\u003c/a> (AB 403), will place children more quickly into foster families.\u003c/p>\n\u003cp>Foster youth will stay at treatment centers for a maximum of six months and group homes will be officially be phased out around 2021. These treatment centers are designed to better fuse the services of the mental health and child welfare systems.\u003c/p>\n\u003cp>The new law goes into effect in January as part of a larger framework called the \u003ca title=\"View What is California's Continuum of Care Reform on Scribd\" href=\"http://www.scribd.com/doc/293252033\">Continuum of Care Reform.\u003c/a>\u003c/p>\n\u003cp>Sylvia Deport, who is deputy director of the Human Services Agency of San Francisco, says this is a big undertaking and will require recruiting, finding and securing families who are willing to provide an adequate level of care for foster youth.\u003c/p>\n\u003cp>\"We want to make sure that kids transition out to be successful adults in our society,\" she says.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/239471440&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/239471440'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Aging Out of Foster Care\u003c/strong>\u003c/p>\n\u003cp>According to \u003ca href=\"http://www.cafosteringconnections.org/wp2/wp-content/uploads/2014/09/Extending-Foster-Care-to-Age-21-LA-Urban-Institute.pdf\">a 2009 Report from the Urban Institute,\u003c/a> one in five foster care youth will become homeless after the age 18, and one in four will be involved in the justice system within two years of aging out of the child welfare system. Those numbers prompted \u003ca href=\"http://www.kqed.org/a/forum/R201512211000\">California to extend the age foster youth receive benefits to 21\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/239867259&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/239867259'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Twenty-year-old Noel Anaya has been in foster care since he was 4 years old.\u003c/p>\n\u003cp>\"When I was 18, I realized, that I had [this year] plus a year to go. So after high school, [I] figured out a game plan, you know go to college.\"\u003c/p>\n\u003cp>But sticking to a game plan is difficult he says. Foster youth often have to worry about things that might not even cross the mind of a privileged youth who is the same age.\u003c/p>\n\u003cp>\"You go through a midlife crisis at the age of 18, 19, 20, because you're like, 'Oh my God is my credit good, is my housing stable, [are] my funds right?\"\u003c/p>\n\u003cp>\u003cstrong>Choosing to Be a Foster Parent\u003c/strong>\u003c/p>\n\u003cp>There's a lot of paperwork, home study and licensing that goes into becoming a foster parent. But Sheri Justice-Cook says even though the job is challenging, it's also fulfilling and important. Justice-Cook is currently fostering two children and a legal guardian of two other children.\u003c/p>\n\u003cp>\"They need socialization skills. A lot of the children didn't have limits and boundaries set upon them prior to entering into foster care. It's not just difficult for the foster parents, it's difficult for the kids. Just imagine being snatched out of your house and taken to a strange person's house.\"\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/239872180&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/239872180'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>She says being a foster parent is a two way street -- it's hard for both the parents and the kids.\u003c/p>\n\u003cp>\"A lot of children have a hard time attaching with us because they feel disloyal to their parents, you know. You have strangers telling you what to do.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>She says it's the foster parents' job to assist the child and do the best they can to help the child go home or get adopted.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The city of Oakland is conducting a national search for the director of the new Department of Race and Equity, which the City Council approved on June 30, 2015.\u003c/p>\n\u003cp>At a \u003ca href=\"http://www.sfgate.com/bayarea/article/Oakland-council-considers-department-of-race-and-6343141.php#photo-8198408\">City Council meeting\u003c/a> that same month, Councilwoman Desley Brooks, who proposed the office in February, said it would help improve issues like potholes in East Oakland, sex trafficking on International Boulevard and the water system of the city’s parks.\u003c/p>\n\u003ch4>Portland lends Oakland Dante James\u003c/h4>\n\u003cp>While Oakland looks for a permanent director of Race and Equity, Portland, Oregon, has entered into an agreement with Oakland to loan\u003ca href=\"http://www.opb.org/radio/programs/thinkoutloud/segment/dante-james-on-the-city-of-portlands-equity-priorities/\"> Dante James\u003c/a>, the equity director of Portland’s Office of Equity and Human Rights.\u003c/p>\n\u003cp>James has over 25 years of experience in social justice and civil rights work. He’s worked on the national, state and local level of government. He says his goal in Oakland is to lay the foundation for the permanent director.\u003c/p>\n\u003cp>“Laying a foundation means setting a stage for when the new director comes in,” he says. For James that means starting the conversation on equity for all the city agencies.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In Portland, James oversaw the development of training curricula, provided technical assistance and developed an equity lens tools for budgeting programs and policy implementation. He plans to do the same in Oakland.\u003c/p>\n\u003cp>This kind of technical assistance includes providing a checklist for those developing the city’s budget with questions like: How does this impact a particular community?\u003c/p>\n\u003cp>“There’s a lot of people who do diversity work, but the work of equity is much broader than that because it encompasses service delivery of all the work the city does, from sewers to street signs to cutting the grass,” James says.\u003c/p>\n\u003ch4>What Does an Equitable Oakland Look Like?\u003c/h4>\n\u003cp>East Oakland resident Nehanda Imara says the ideal candidate will do a lot of community engagement around what equity means.\u003c/p>\n\u003cp>She says equity is a question of justice and fairness — how is the city distributing resources?\u003c/p>\n\u003cp>“The unfairness has been institutionalized so much that people who are running those programs don’t see it,” she says.\u003c/p>\n\u003cp>She points to the prevalence of potholes and illegal dumping in East Oakland as examples, “There’s a perception that most of this dumping happens in the flatlands and not in the hills. This office should look very close at how public works resources are being used in the city and why.”\u003c/p>\n\u003cp>Equity in Oakland, she says, would mean less dumping and timely reactions from Public Works in all of Oakland — from the flatlands to the hills.\u003c/p>\n\u003ch4>Oakland’s Department of Race and Equity\u003c/h4>\n\u003cp>As for the department, it will be staffed with a director and program analyst, says Deputy City Administrator Stephanie Hom.\u003c/p>\n\u003cp>“They have authority coming out of the highest administrative department in the city,” she says. Hom adds that the first priority is to find the right director.\u003c/p>\n\u003cp>“The ideal candidate is someone who [has] experience with government [and] therefore understands the layers of regulations that exist,” she says.\u003c/p>\n\u003cp>Hom is also hoping for someone who can communicate, listen and connect with Oakland’s diverse communities.\u003c/p>\n\u003cp>As a result, the city is casting a wide net for this search. Hom says it’s really important that they get someone who has expertise in racial and social justice issues — like Dante James.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>James, however, plans to return to Oregon in the spring. Hom says the new director will start in March.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The city of Oakland is conducting a national search for the director of the new Department of Race and Equity, which the City Council approved on June 30, 2015.\u003c/p>\n\u003cp>At a \u003ca href=\"http://www.sfgate.com/bayarea/article/Oakland-council-considers-department-of-race-and-6343141.php#photo-8198408\">City Council meeting\u003c/a> that same month, Councilwoman Desley Brooks, who proposed the office in February, said it would help improve issues like potholes in East Oakland, sex trafficking on International Boulevard and the water system of the city’s parks.\u003c/p>\n\u003ch4>Portland lends Oakland Dante James\u003c/h4>\n\u003cp>While Oakland looks for a permanent director of Race and Equity, Portland, Oregon, has entered into an agreement with Oakland to loan\u003ca href=\"http://www.opb.org/radio/programs/thinkoutloud/segment/dante-james-on-the-city-of-portlands-equity-priorities/\"> Dante James\u003c/a>, the equity director of Portland’s Office of Equity and Human Rights.\u003c/p>\n\u003cp>James has over 25 years of experience in social justice and civil rights work. He’s worked on the national, state and local level of government. He says his goal in Oakland is to lay the foundation for the permanent director.\u003c/p>\n\u003cp>“Laying a foundation means setting a stage for when the new director comes in,” he says. For James that means starting the conversation on equity for all the city agencies.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In Portland, James oversaw the development of training curricula, provided technical assistance and developed an equity lens tools for budgeting programs and policy implementation. He plans to do the same in Oakland.\u003c/p>\n\u003cp>This kind of technical assistance includes providing a checklist for those developing the city’s budget with questions like: How does this impact a particular community?\u003c/p>\n\u003cp>“There’s a lot of people who do diversity work, but the work of equity is much broader than that because it encompasses service delivery of all the work the city does, from sewers to street signs to cutting the grass,” James says.\u003c/p>\n\u003ch4>What Does an Equitable Oakland Look Like?\u003c/h4>\n\u003cp>East Oakland resident Nehanda Imara says the ideal candidate will do a lot of community engagement around what equity means.\u003c/p>\n\u003cp>She says equity is a question of justice and fairness — how is the city distributing resources?\u003c/p>\n\u003cp>“The unfairness has been institutionalized so much that people who are running those programs don’t see it,” she says.\u003c/p>\n\u003cp>She points to the prevalence of potholes and illegal dumping in East Oakland as examples, “There’s a perception that most of this dumping happens in the flatlands and not in the hills. This office should look very close at how public works resources are being used in the city and why.”\u003c/p>\n\u003cp>Equity in Oakland, she says, would mean less dumping and timely reactions from Public Works in all of Oakland — from the flatlands to the hills.\u003c/p>\n\u003ch4>Oakland’s Department of Race and Equity\u003c/h4>\n\u003cp>As for the department, it will be staffed with a director and program analyst, says Deputy City Administrator Stephanie Hom.\u003c/p>\n\u003cp>“They have authority coming out of the highest administrative department in the city,” she says. Hom adds that the first priority is to find the right director.\u003c/p>\n\u003cp>“The ideal candidate is someone who [has] experience with government [and] therefore understands the layers of regulations that exist,” she says.\u003c/p>\n\u003cp>Hom is also hoping for someone who can communicate, listen and connect with Oakland’s diverse communities.\u003c/p>\n\u003cp>As a result, the city is casting a wide net for this search. Hom says it’s really important that they get someone who has expertise in racial and social justice issues — like Dante James.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>James, however, plans to return to Oregon in the spring. Hom says the new director will start in March.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "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.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"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.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
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