Tropical latin visual story teller extraordinaire! bread maker apprentice.
By Claudia Escobar
‘We Are Here’: Cece Carpio Paints Indigenous Stories Around the World
Mexican Folk Dance Keeps Oaxacan Culture Alive in Fresno
Loners, Rappers, and Bankrobbers: Pete Lee Brings the Bay's Scrappiness to Life
Pamela Chavez Translates Her Own Immigration Story into a Magical Animation
Dancers Spin Through a Los Angeles Rarely Seen on the Silver Screen
Reclamation in Detroit with Dancer Erika 'Big Red' Stowall
Welcome to the House of Love: Voguing in San Francisco
Filmmaker Leo Herrera Imagines an Alternate World Without AIDS
How Daly City's Filipino Mobile DJ Scene Changed Hip-Hop Forever
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"content": "\u003cp>\u003ca href=\"http://cececarpio.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cece Carpio\u003c/a> credits her great grandmother, who raised her for the first 12 years of her life, with giving her the desire to draw and create art. Then, it was a means of communication—Carpio’s great grandmother, a midwife, herbalist and “fierce matriarch,” could not read or write. So Carpio would make drawings to illustrate what she’d learned each day in school in the barangay (or barrio) of San Ildefonso in the Philippine province of Laguna.\u003c/p>\n\u003cp>Today, Oakland-based Carpio uses her art to tell other people’s stories. In her words, “I paint everyday people fighting for a more dignified existence.” Carpio’s practice is rooted in documenting and elevating the lives of contemporary indigenous people—emphasizing their stories are not just a history lesson about a bygone age. 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(courtesy of Cece Carpio)\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/whang-od-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/whang-od-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/whang-od-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/whang-od-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/whang-od-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/whang-od-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A portrait of Whang-od Oggay from the Butbut community in the Philippines and the world’s last mambabatok (hand-tap tattoo artist) from her generation. (courtesy of Cece Carpio)\u003c/figcaption>\u003c/figure>\n\u003cp>After moving to the United States and experiencing her own sense of displacement from the indigenous community of her youth (her great grandmother is Igorot from the Cordillera region), Carpio found the \u003ca href=\"https://slack-redir.net/link?url=http%3A%2F%2Fwww.trustyourstruggle.com%2Fa%2F\" target=\"_blank\" rel=\"noopener noreferrer\">Trust Your Struggle collective\u003c/a> and a new sense of belonging. 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(courtesy of Trust Your Struggle)\" width=\"800\" height=\"430\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/TYS.TULOY_PO_KAYO-800x430.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/TYS.TULOY_PO_KAYO-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/TYS.TULOY_PO_KAYO-768x413.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/TYS.TULOY_PO_KAYO-1020x549.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/TYS.TULOY_PO_KAYO-1200x646.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/TYS.TULOY_PO_KAYO.jpg 1721w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tuloy Po Kayo (Filipino for ‘welcome’), South of Market, San Francisco, CA. (courtesy of Trust Your Struggle)\u003c/figcaption>\u003c/figure>\n\u003cp>Carpio’s practice now takes her all over the world—she’s produced and exhibited work in the Philippines, the Fiji Islands, Cuba, Mexico, Guatemala, Nicaragua, Italy, Norway, Ireland, United Kingdom, India and Guam. Closer to home, she’s painted murals at the Filipino Education Center in San Francisco and received commissions from the City of Oakland, Yerba Buena Center for the Arts, UC Berkeley and the Oakland Museum of California.\u003c/p>\n\u003cp>Recently, Carpio had the opportunity to work with Lumad communities in Davao City in the Philippines. 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"content": "\u003cp>\u003ci>Editor’s Note: Step into the shoes of dancers from across the country who dare to imagine what it would look like if their city could dance with KQED’s \u003c/i>If Cities Could Dance\u003ci>. Watch a new episode from season two of the video series every Tuesday through May 14, 2019.\u003c/i>\u003c/p>\n\u003cp>Behind handmade masks and under animal furs, the Oaxacan community of Casa San Miguel in Fresno, California perform a folk dance that hails from Spain, Mexico and now, the San Joaquin Valley.\u003c/p>\n\u003cp>Raymundo Guzmán started dancing with Los diablos de Juxtlahuaca Oaxaca when he was just 15. “When you come in, you are like a different character,” he says. “You can be someone else.” For Guzmán and his fellow dancers, their movements tell the story of an ancient fight between Christians and Muslims, of a man on his deathbed who offers his body up to devils. The dancers stomp and spin to the thumping beat of bass drums and horn blasts.\u003c/p>\n\u003cp>Today, agricultural workers from the town of San Miguel Cuevas who emigrated to Fresno gather to don the traditional masks and costumes, all made in Oaxaca, and move in the whip-wielding, barely controlled frenzy that is the Danza de los Diablos. Dancers range in age from children to grandparents.\u003c/p>\n\u003cp>San Miguel Cuevas will always be their home; anyone who can returns home for festivals and celebrations, Guzmán says, “but for those who can’t, then the other half of the town is here.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Fresno is Oaxaca!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watch Los diablos de Juxtlahuaca Oaxaca dance to the sounds of local chilenas band Tamborazo Junior—in nearby almond orchards through Fresno’s downtown into the city’s neighborhoods. \u003cem>— Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Editor’s Note: Step into the shoes of dancers from across the country who dare to imagine what it would look like if their city could dance with KQED’s \u003c/i>If Cities Could Dance\u003ci>. Watch a new episode from season two of the video series every Tuesday through May 14, 2019.\u003c/i>\u003c/p>\n\u003cp>Behind handmade masks and under animal furs, the Oaxacan community of Casa San Miguel in Fresno, California perform a folk dance that hails from Spain, Mexico and now, the San Joaquin Valley.\u003c/p>\n\u003cp>Raymundo Guzmán started dancing with Los diablos de Juxtlahuaca Oaxaca when he was just 15. “When you come in, you are like a different character,” he says. “You can be someone else.” For Guzmán and his fellow dancers, their movements tell the story of an ancient fight between Christians and Muslims, of a man on his deathbed who offers his body up to devils. The dancers stomp and spin to the thumping beat of bass drums and horn blasts.\u003c/p>\n\u003cp>Today, agricultural workers from the town of San Miguel Cuevas who emigrated to Fresno gather to don the traditional masks and costumes, all made in Oaxaca, and move in the whip-wielding, barely controlled frenzy that is the Danza de los Diablos. Dancers range in age from children to grandparents.\u003c/p>\n\u003cp>San Miguel Cuevas will always be their home; anyone who can returns home for festivals and celebrations, Guzmán says, “but for those who can’t, then the other half of the town is here.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Loners, Rappers, and Bankrobbers: Pete Lee Brings the Bay's Scrappiness to Life",
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"content": "\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Editor’s Note: \u003c/span>\u003c/i>\u003ca href=\"https://www.kqed.org/arts/series/behind-the-lens\">\u003ci>\u003cspan style=\"font-weight: 400\">Behind the Lens\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> is a digital video series featuring bold California indie filmmakers pushing the boundaries of their craft. Each episode captures the personal experiences that inform a filmmaker’s work and the risks they take to bring stories to the screen.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"http://www.ohpetelee.com\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Pete Lee\u003c/em>\u003c/a> has never been known to stay in one lane. He’s a writer and director; his short film \u003ca href=\"https://vimeo.com/223838773\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Don’t Be a Hero\u003c/em>\u003c/a> premiered as an official selection at 2018’s Sundance Film Festival. He makes stylish, athletic music videos (for \u003ca href=\"https://www.youtube.com/watch?v=uaFQw52wJug\" target=\"_blank\" rel=\"noopener noreferrer\">The Coup\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=3JrDVPsVbVA\" target=\"_blank\" rel=\"noopener noreferrer\">Atmosphere\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=XabAnAJjDik\" target=\"_blank\" rel=\"noopener noreferrer\">Aesop Rock\u003c/a>, among others). He’s also a food photographer, a lifelong kung fu aficionado, an outspoken advocate for immigrants and homeless folks, and an erstwhile musician-slash-standup-comedian who likes to cover Mariah Carey.\u003c/p>\n\u003cp>But the most accurate word for Lee, really, is ringleader: wherever he goes, interesting people follow. You only need one glimpse of the Taiwan-born, Boston suburb-raised 36-year-old giving direction on a film set—or making jokes and bossing his friends-turned-sous-chefs around in his tiny kitchen in the Mission District as he cooks dinner for a packed house of local artists, writers and musicians—to understand you’re dealing with someone special.\u003c/p>\n\u003cp>Lee’s a ham, but there’s a distinctly collaborative thread that runs through his films: an eye for an unlikely pairing or mashup, a gift for knowing when to step back and let magic work—and then a tendency to just say “to hell with it” and invite everyone to join in. He’s scrappy in a way that screams Bay Area, drawn to artistic and logistical challenges that would make other filmmakers balk. And, whether solo or through \u003ca href=\"http://www.wearescandinavia.com\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Scandinavia\u003c/em>\u003c/a>, the Bay Area production company he co-founded, he always manages to get others excited about outrageous, sometimes far-from-lucrative creative endeavors as well.\u003c/p>\n\u003cp>His protagonists are often loners and outsiders. But: “I’m at my best when I’m in the company of other people,” is how Lee puts it. KQED Arts sat down with the filmmaker to hear more. —\u003cem>Intro by Emma Silvers\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13844805\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844805\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH.jpg 1390w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from “Don’t be A Hero” \u003ccite>(Courtesy of Pete Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How did you get your start in filmmaking?\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Pete: \u003c/b>\u003cspan style=\"font-weight: 400\">When I was 16, my cousin got me a bootleg DVD, an instructional video of Jackie Chan teaching how to shoot fight scenes. So I got a camera and grabbed one of my high school classmates who could do backflips, and then we started making things. But my first like real gig was working with a local hip-hop group Zion I. They were looking to do some guerrilla-style music videos for their new album coming out. They didn’t have any money, but I knew that that was probably going to be the quickest way for me to really get some practice, so I started working with them and made six music videos that summer. The first, I had two or three helpers, and by the end, I had formed this pretty sizable film crew, with a lot of people in film who didn’t just want to hustle on commercial sets. So we kept a very loose, collaborative atmosphere, and I think the payoff was a lot of really interesting work from people with very different backgrounds. And that was the start of this little family [of filmmakers] forming in Oakland. \u003c/span>\u003c/p>\n\u003cp>\u003cb>How do you define success for yourself? \u003c/b>\u003c/p>\n\u003cp>\u003cb>Pete: \u003c/b>\u003cspan style=\"font-weight: 400\">Success for me is if I can keep working with inspiring people whose work I admire. Most of my friends I’ve met on film sets through filmmaking, and most of the people that I’ve considered family, I’ve met through film, so I just want to keep doing that. Also, by “inspiring,” I don’t mean in a high school counselor kind of way. Sometimes motivation comes from being competitive with one another and sometimes it can come from hearing really tough words from people you like.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13844808\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13844808 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RopeAdope2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from “Rope A Dope 2”\u003cbr>Courtesy of Pete Lee\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What’s something you wish you could say to your younger self?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Pete: \u003c/b>Filmmaking, freelancing, can be a really tough business. When times get slow, it can feel really, really lonely, especially in a place like San Francisco when there’s not much of a film industry. I would tell myself: ‘Hang in there, and whether you are hibernating or working on your passion projects or trying to reach out to everyone, just understand that we’ve been conditioned to be embarrassed by things beyond our control, like money. Just ride it out, and worry about whether or not you’re putting good work into the world.’\u003c/p>\n\u003cp>There are so many setbacks in filmmaking, so many moving parts. Even when you feel like you failed, it can be hard to know by the final product what adjustments should’ve been made, because the situations are so specific. Was it that I didn’t know how to talk to the actors, or because the weather was just bad that day so the shot looks bad, or that I’m not very good at logistics and making a schedule? And you can think, ‘I’m not meant for this,’ and question, ‘Am I a real artist, a \u003cem>filmmaker\u003c/em>?’ When I was younger I think that identity, that status, was really important to me.\u003c/p>\n\u003cp>\u003cb>What is a source of inspiration to you that might be surprising to other people?\u003c/b>\u003c/p>\n\u003cp>There’s a really beautiful church and community called the \u003ca href=\"http://www.cityofrefugeucc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">City of Refuge\u003c/a> that used to be in San Francisco, but I think, because of gentrification, they are now in East Oakland. They don’t have the biggest choir, church band or whatever, and it’s not a super polished church. But there’s something about their music, and their Sunday services that just really, really moves me. A lot of the people that the church serves are queer and transgender, and I always just feel like it really is true to its name, City of Refuge. And sometimes when I feel disconnected from humanity, or I get a little cynical or whatever, I go there to get lost in the music and the spirit of the place.\u003c/p>\n\u003cfigure id=\"attachment_13844809\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844809\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from Meklit’s video “Super Nova”\u003cbr>Courtesy of Pete Lee\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What does the future of filmmaking look like in your ideal world?\u003c/b>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m really excited by this resurgence of different types of stories and approaches. They kind of come in booms, like very personal independent films and really intelligent takes on genre films with political implications, like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Get Out\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. And on television and in web series too, all these artists are figuring out different ways to break storytelling [conventions]. Shows like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Atlanta\u003c/span>\u003c/i>;\u003cspan style=\"font-weight: 400\"> or \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Nanette\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">,\u003c/span>\u003cspan style=\"font-weight: 400\"> the Netflix comedy special [featuring Australian Hannah Gadsby]; \u003c/span>\u003cspan style=\"font-weight: 400\">the really personal documentary \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Minding the Gap \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">that came out this year. I’m excited that we have all these really young filmmakers who are learning to put all of that together—to tell personal stories that are fun, or infused with genre and pop culture that we grow up with, and using that to a political end, and to give strength to people. Very quickly the boom can fade, or things could turn formulaic quickly and everyone turns lazy—that might also be a possible outcome. But I’m excited by the possibility that we might get 10 great years of personal filmmaking that’s really joyful and vibrant and has the ability to change the discourse. \u003cem>–Interview by Masha Pershay\u003c/em>\u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Editor’s Note: \u003c/span>\u003c/i>\u003ca href=\"https://www.kqed.org/arts/series/behind-the-lens\">\u003ci>\u003cspan style=\"font-weight: 400\">Behind the Lens\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> is a digital video series featuring bold California indie filmmakers pushing the boundaries of their craft. Each episode captures the personal experiences that inform a filmmaker’s work and the risks they take to bring stories to the screen.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ca href=\"http://www.ohpetelee.com\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Pete Lee\u003c/em>\u003c/a> has never been known to stay in one lane. He’s a writer and director; his short film \u003ca href=\"https://vimeo.com/223838773\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Don’t Be a Hero\u003c/em>\u003c/a> premiered as an official selection at 2018’s Sundance Film Festival. He makes stylish, athletic music videos (for \u003ca href=\"https://www.youtube.com/watch?v=uaFQw52wJug\" target=\"_blank\" rel=\"noopener noreferrer\">The Coup\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=3JrDVPsVbVA\" target=\"_blank\" rel=\"noopener noreferrer\">Atmosphere\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=XabAnAJjDik\" target=\"_blank\" rel=\"noopener noreferrer\">Aesop Rock\u003c/a>, among others). He’s also a food photographer, a lifelong kung fu aficionado, an outspoken advocate for immigrants and homeless folks, and an erstwhile musician-slash-standup-comedian who likes to cover Mariah Carey.\u003c/p>\n\u003cp>But the most accurate word for Lee, really, is ringleader: wherever he goes, interesting people follow. You only need one glimpse of the Taiwan-born, Boston suburb-raised 36-year-old giving direction on a film set—or making jokes and bossing his friends-turned-sous-chefs around in his tiny kitchen in the Mission District as he cooks dinner for a packed house of local artists, writers and musicians—to understand you’re dealing with someone special.\u003c/p>\n\u003cp>Lee’s a ham, but there’s a distinctly collaborative thread that runs through his films: an eye for an unlikely pairing or mashup, a gift for knowing when to step back and let magic work—and then a tendency to just say “to hell with it” and invite everyone to join in. He’s scrappy in a way that screams Bay Area, drawn to artistic and logistical challenges that would make other filmmakers balk. And, whether solo or through \u003ca href=\"http://www.wearescandinavia.com\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Scandinavia\u003c/em>\u003c/a>, the Bay Area production company he co-founded, he always manages to get others excited about outrageous, sometimes far-from-lucrative creative endeavors as well.\u003c/p>\n\u003cp>His protagonists are often loners and outsiders. But: “I’m at my best when I’m in the company of other people,” is how Lee puts it. KQED Arts sat down with the filmmaker to hear more. —\u003cem>Intro by Emma Silvers\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13844805\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844805\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_PeteLee_DBAH.jpg 1390w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from “Don’t be A Hero” \u003ccite>(Courtesy of Pete Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>How did you get your start in filmmaking?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Pete: \u003c/b>\u003cspan style=\"font-weight: 400\">When I was 16, my cousin got me a bootleg DVD, an instructional video of Jackie Chan teaching how to shoot fight scenes. So I got a camera and grabbed one of my high school classmates who could do backflips, and then we started making things. But my first like real gig was working with a local hip-hop group Zion I. They were looking to do some guerrilla-style music videos for their new album coming out. They didn’t have any money, but I knew that that was probably going to be the quickest way for me to really get some practice, so I started working with them and made six music videos that summer. The first, I had two or three helpers, and by the end, I had formed this pretty sizable film crew, with a lot of people in film who didn’t just want to hustle on commercial sets. So we kept a very loose, collaborative atmosphere, and I think the payoff was a lot of really interesting work from people with very different backgrounds. And that was the start of this little family [of filmmakers] forming in Oakland. \u003c/span>\u003c/p>\n\u003cp>\u003cb>How do you define success for yourself? \u003c/b>\u003c/p>\n\u003cp>\u003cb>Pete: \u003c/b>\u003cspan style=\"font-weight: 400\">Success for me is if I can keep working with inspiring people whose work I admire. Most of my friends I’ve met on film sets through filmmaking, and most of the people that I’ve considered family, I’ve met through film, so I just want to keep doing that. Also, by “inspiring,” I don’t mean in a high school counselor kind of way. Sometimes motivation comes from being competitive with one another and sometimes it can come from hearing really tough words from people you like.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13844808\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13844808 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RopeAdope2-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RopeAdope2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from “Rope A Dope 2”\u003cbr>Courtesy of Pete Lee\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What’s something you wish you could say to your younger self?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Pete: \u003c/b>Filmmaking, freelancing, can be a really tough business. When times get slow, it can feel really, really lonely, especially in a place like San Francisco when there’s not much of a film industry. I would tell myself: ‘Hang in there, and whether you are hibernating or working on your passion projects or trying to reach out to everyone, just understand that we’ve been conditioned to be embarrassed by things beyond our control, like money. Just ride it out, and worry about whether or not you’re putting good work into the world.’\u003c/p>\n\u003cp>There are so many setbacks in filmmaking, so many moving parts. Even when you feel like you failed, it can be hard to know by the final product what adjustments should’ve been made, because the situations are so specific. Was it that I didn’t know how to talk to the actors, or because the weather was just bad that day so the shot looks bad, or that I’m not very good at logistics and making a schedule? And you can think, ‘I’m not meant for this,’ and question, ‘Am I a real artist, a \u003cem>filmmaker\u003c/em>?’ When I was younger I think that identity, that status, was really important to me.\u003c/p>\n\u003cp>\u003cb>What is a source of inspiration to you that might be surprising to other people?\u003c/b>\u003c/p>\n\u003cp>There’s a really beautiful church and community called the \u003ca href=\"http://www.cityofrefugeucc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">City of Refuge\u003c/a> that used to be in San Francisco, but I think, because of gentrification, they are now in East Oakland. They don’t have the biggest choir, church band or whatever, and it’s not a super polished church. But there’s something about their music, and their Sunday services that just really, really moves me. A lot of the people that the church serves are queer and transgender, and I always just feel like it really is true to its name, City of Refuge. And sometimes when I feel disconnected from humanity, or I get a little cynical or whatever, I go there to get lost in the music and the spirit of the place.\u003c/p>\n\u003cfigure id=\"attachment_13844809\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844809\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/BTL_Pete_Meklit_SuperNova.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from Meklit’s video “Super Nova”\u003cbr>Courtesy of Pete Lee\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What does the future of filmmaking look like in your ideal world?\u003c/b>\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\">I’m really excited by this resurgence of different types of stories and approaches. They kind of come in booms, like very personal independent films and really intelligent takes on genre films with political implications, like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Get Out\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. And on television and in web series too, all these artists are figuring out different ways to break storytelling [conventions]. Shows like \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Atlanta\u003c/span>\u003c/i>;\u003cspan style=\"font-weight: 400\"> or \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Nanette\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">,\u003c/span>\u003cspan style=\"font-weight: 400\"> the Netflix comedy special [featuring Australian Hannah Gadsby]; \u003c/span>\u003cspan style=\"font-weight: 400\">the really personal documentary \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Minding the Gap \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">that came out this year. I’m excited that we have all these really young filmmakers who are learning to put all of that together—to tell personal stories that are fun, or infused with genre and pop culture that we grow up with, and using that to a political end, and to give strength to people. Very quickly the boom can fade, or things could turn formulaic quickly and everyone turns lazy—that might also be a possible outcome. But I’m excited by the possibility that we might get 10 great years of personal filmmaking that’s really joyful and vibrant and has the ability to change the discourse. \u003cem>–Interview by Masha Pershay\u003c/em>\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Editor’s Note: \u003ca href=\"https://www.kqed.org/arts/series/behind-the-lens\" target=\"_blank\" rel=\"noopener noreferrer\">Behind the Lens\u003c/a> is a digital video series featuring bold California indie filmmakers pushing the boundaries of their craft. Each episode captures the personal experiences that inform a filmmaker’s work and the risks they take to bring stories to the screen.\u003c/em>\u003c/p>\n\u003cp>Pamela Chavez was very comfortable in the role of “illustrator and animator.” And as she worked on her first animated film, \u003cem>Caracol Cruzando,\u003c/em> a 16-minute short about a young Costa Rican girl emigrating to the United States, she grew into the role of writer as well.\u003c/p>\n\u003cp>But directing, she remembers, that part was hard. “I hadn’t done anything of this magnitude before,” she says of the four-year-long project. The evolution from illustrator to director, Chavez says, “has been the biggest, with the biggest reward.”\u003c/p>\n\u003cp>\u003cem>Caracol Cruzando\u003c/em> translates memories of her own childhood into a magical story of migration and resilience. As Chavez assembled a team of talented animators, sound designers and story editors, it was important to her to have diverse, often marginalized perspectives represented behind the scenes—not just in the story she wanted to tell.\u003c/p>\n\u003cp>Chavez sat down with KQED Arts to talk about her inspirations, lessons she’s learned through filmmaking and what she hopes to see more of in the future.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>How did you get your start in film?\u003c/strong>\u003c/p>\n\u003cp>This is my first major film project. I studied at the Rhode Island School of Design and I wrote \u003cem> Caracol Cruzando\u003c/em> while I was in school. Right around when I graduated in 2015, I received the grant [from Latino Public Broadcasting] to make this film.\u003c/p>\n\u003cp>\u003cstrong>How do you define success for yourself?\u003c/strong>\u003c/p>\n\u003cp>Success is being personally challenged to rise to the occasion to believe in myself to be a leader, to trust that I’m a good person to work with and that I have a lot of creative ideas to add to the world. And I think that’s my personal goal, to believe in the power of my creative voice and to trust and to continue trusting my process.\u003c/p>\n\u003cfigure id=\"attachment_13842431\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842431\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-800x449.png\" alt=\"Still from Caracol Cruzando, courtesy of Pamela Chavez\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-800x449.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-768x431.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-1020x573.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-1200x674.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-1920x1078.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-1180x663.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-960x539.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-520x292.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM.png 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from Caracol Cruzando, courtesy of Pamela Chavez\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What it something you wish you could say to your younger yourself?\u003c/strong>\u003c/p>\n\u003cp>As a queer woman of color, it’s difficult to find confidence sometimes in the work that we do. I think telling myself I’m doing the most that I can, putting my whole heart into the process, my creative heart, my intellectual heart, all those parts to me, and not to put pressure on myself to create something that’s totally perfect.\u003c/p>\n\u003cp>\u003cstrong>What is a source of inspiration to you that might be surprising other people?\u003c/strong>\u003c/p>\n\u003cp>Marjane Satrapi, the Iranian-born French writer and director of animation. She wrote the animated film \u003cem>Persepolis\u003c/em>. People are always surprised to hear that, because it’s not directly linked to the stories I tell. But I think that finding yourself in other voices is really important in finding your intersection between community struggles. This is really what solidarity and intersectionality is about.\u003c/p>\n\u003cp>\u003cstrong>What does future of filmmaking look like in your ideal world?\u003c/strong>\u003c/p>\n\u003cp>In my ideal world, I would see—and I’m speaking primarily to the animation community—stories and films from indigenous, Asian-American and Latino populations given equal voice in funding, perspective, leadership and teams, in a way that hasn’t been seen before. It’s not just about having diversity to check a box for a studio or a company, but telling stories in legitimate, honest ways, spearheaded and written by communities of color, queer folks and folks who’ve been marginalized. So it is beyond just having representation, but about the stories and who is given creative input. — \u003cem>Interview by Rachel Boyoung Kim\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.pbs.org/filmfestival/2018-festival/caracol-cruzando/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Caracol Cruzando \u003c/em>\u003c/a>is streaming as part of the 2018 PBS Online Film Festival.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>How did you get your start in film?\u003c/strong>\u003c/p>\n\u003cp>This is my first major film project. I studied at the Rhode Island School of Design and I wrote \u003cem> Caracol Cruzando\u003c/em> while I was in school. Right around when I graduated in 2015, I received the grant [from Latino Public Broadcasting] to make this film.\u003c/p>\n\u003cp>\u003cstrong>How do you define success for yourself?\u003c/strong>\u003c/p>\n\u003cp>Success is being personally challenged to rise to the occasion to believe in myself to be a leader, to trust that I’m a good person to work with and that I have a lot of creative ideas to add to the world. And I think that’s my personal goal, to believe in the power of my creative voice and to trust and to continue trusting my process.\u003c/p>\n\u003cfigure id=\"attachment_13842431\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842431\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-800x449.png\" alt=\"Still from Caracol Cruzando, courtesy of Pamela Chavez\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-800x449.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-768x431.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-1020x573.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-1200x674.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-1920x1078.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-1180x663.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-960x539.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM-520x292.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Screen-Shot-2018-10-09-at-2.24.48-PM.png 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from Caracol Cruzando, courtesy of Pamela Chavez\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What it something you wish you could say to your younger yourself?\u003c/strong>\u003c/p>\n\u003cp>As a queer woman of color, it’s difficult to find confidence sometimes in the work that we do. I think telling myself I’m doing the most that I can, putting my whole heart into the process, my creative heart, my intellectual heart, all those parts to me, and not to put pressure on myself to create something that’s totally perfect.\u003c/p>\n\u003cp>\u003cstrong>What is a source of inspiration to you that might be surprising other people?\u003c/strong>\u003c/p>\n\u003cp>Marjane Satrapi, the Iranian-born French writer and director of animation. She wrote the animated film \u003cem>Persepolis\u003c/em>. People are always surprised to hear that, because it’s not directly linked to the stories I tell. But I think that finding yourself in other voices is really important in finding your intersection between community struggles. This is really what solidarity and intersectionality is about.\u003c/p>\n\u003cp>\u003cstrong>What does future of filmmaking look like in your ideal world?\u003c/strong>\u003c/p>\n\u003cp>In my ideal world, I would see—and I’m speaking primarily to the animation community—stories and films from indigenous, Asian-American and Latino populations given equal voice in funding, perspective, leadership and teams, in a way that hasn’t been seen before. It’s not just about having diversity to check a box for a studio or a company, but telling stories in legitimate, honest ways, spearheaded and written by communities of color, queer folks and folks who’ve been marginalized. So it is beyond just having representation, but about the stories and who is given creative input. — \u003cem>Interview by Rachel Boyoung Kim\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.pbs.org/filmfestival/2018-festival/caracol-cruzando/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Caracol Cruzando \u003c/em>\u003c/a>is streaming as part of the 2018 PBS Online Film Festival.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Editors Note: If Cities Could Dance captures dancers’ personal stories and their deep-rooted relationships to their communities. Watch a new episode every Tuesday through May 28, 2018.\u003c/em>\u003c/p>\n\u003cp>Imagine a version of \u003cem>La La Land\u003c/em> filmed not in the Hollywood Hills, but amongst the landmarks of a different, more street-level Los Angeles. Replace Griffith Park with the Boyle Heights Mariachi Plaza. Swap Grand Central Market for the decidedly less gentrified Central Wholesale Produce Market.\u003c/p>\n\u003cp>Then cast Lily Ontiveros, a formally trained contemporary dancer from Monterrey, Mexico, as the young ingénue. And for the male lead: Roberto Lambaren, a.k.a. Rawbzilla, a former b-boy with deep roots in the Los Angeles hip-hop scene. Let their dancing depict a community — and a neighborhood — that’s mostly overlooked on the silver screen.\u003c/p>\n\u003cp>Cue the romantic strings and fantasy is complete.\u003c/p>\n\u003cp>Back in the real world, Los Angeles is an inspiration to both Ontiveros and Lambaren, who work with Heidi Duckler Dance Theater, a company that performs only in non-traditional spaces. “That’s what L.A. is all about,” Lambaren says, “creativity and being original and adding something to the dance culture.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For Ontiveros, who hopes to establish a dance career in Los Angeles, the immigrant population is part of the fabric of the city, and why she loves it there. “It’s kind of a reminder of where I come from and how hard everyone has worked to be here,” she says.\u003c/p>\n\u003cp>Los Angeles, the dancers say, pushes them both to find their own voices.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“For a lot of dancers here, they should always want to stand out,” Lambaren says. “And how do you stand out? You be yourself.”\u003cem>–Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\n",
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"source": "kqed",
"order": 9
},
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
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