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"title": "'They Call Us Monsters': A New Lens on Teens Facing Life in Prison",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Back in 2013, California was debating whether to give teenagers who committed violent crimes a second chance. The proposed bill, \u003c/span>\u003ca href=\"http://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=201320140SB260\">\u003cspan style=\"font-weight: 400\">SB 260\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, would allow juveniles to become eligible for parole earlier in their sentencing, after serving at least 15 years. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s when director \u003ca href=\"http://www.imdb.com/name/nm3435580/\">Ben Lear\u003c/a> knew he had a film to make. \u003c/span>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"They Call Us Monsters Official Trailer 1 (2016) - Documentary\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/u7BQc1Lxm6g?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Lear had been visiting “The Compound,” a high-security facility where Los Angeles houses its most violent juvenile criminals. When he heard about the bill, he joined forces with screenwriter \u003ca href=\"https://www.theycallusmonsters.com/copy-of-sasha-alpert\" target=\"_blank\" rel=\"noopener noreferrer\">Gabriel Cowan\u003c/a> to produce the documentary “\u003ca href=\"http://www.pbs.org/independentlens/films/they-call-us-monsters/\" target=\"_blank\" rel=\"noopener noreferrer\">They Call Us Monsters\u003c/a>.” \u003c/p>\n\u003cp>Cowan had the idea to start a screenwriting class for juvenile offenders after he gave a talk to incarcerated youth while working on another screenplay. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Over the course of a few months, Lear filmed Cowan working with three teenagers — Juan Gamez, Jarad Nava and Antonio Hernandez — who were awaiting trial, some facing sentences more than 100 years long. \u003c/p>\n\u003cp>Juan and Jarad were 16 when they were arrested; Antonio was 14.\u003c/p>\n\u003cfigure id=\"attachment_11467104\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11467104\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gabriel Cowan teaches a screenwriting class to juvenile offenders at The Compound. \u003ccite>(BMP Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cowan says the juvenile justice system in California is broken. Instead of rehabilitating youth who have committed serious crimes, he says, it’s punishing them.\u003c/p>\n\u003cp>“You can’t punish trauma out of a child, you have to love it out of them,” he says. “And that’s part of what I think works so well with these art programs. People who are trying through art help these kids deal with the trauma that they have gone through.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But it wasn’t easy. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The film documents one of his first visits, when he asks the group to list their fears. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Antonio: “Fear of trust, fear of being alone, fear of public speaking, and fear of vulnerability,” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Juan: “Death, loneliness, darkness, and love.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jarad: “I don’t like snakes, there’s a fear of heights, I’m not scared of heights, but there’s a fear. The dark.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But then, Jarad counters, “No, I’m not scared of the dark.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Seems like you’re avoiding the question,” Cowan replies. “Seems like maybe you’re afraid of the question.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11467106\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11467106\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gabriel Cowan and his students review their work at The Compound. \u003ccite>(BMP Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Cowan says that getting the teens to open up to him was a long and sometimes difficult process. He had the group do a number of trust exercises. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It wasn’t a direct line, it was a process that had zigzaggy lines. One week they would open up and trust me, and another week they would be joking around and sort of making me the villain.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Cowan gave the teens liberty to choose what they wanted their film to be about. “You can write a science fiction, you can write an animated film, you can write about ninjas, whatever you want.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But the three boys decided to do something mutually biographical. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The plot emerged when the teens were talking about their fears. Juan said he was in love with a girl when he was 10, but was too scared to tell her. His story became one of the main themes in their film.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11467107\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11467107\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gabriel Cowan at The Compound, where he teaches a screenwriting class to juvenile offenders. \u003ccite>(BMP Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We incorporated that experience, the experience of telling someone you love them and how scary that is,” says Cowan. “[It’s] the loss of innocence of this kid, who in this one day, nearly loses his virginity, smokes pot for the first time, gets kicked out of his house, sees a drive-by shooting, and all while trying to tell this girl that he loves her.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Encouraged by Cowan and his classmates, Juan ended up calling his 10 year-old crush inside the jail.\u003c/span>\u003c/p>\n\u003cp>This scene makes it into the final documentary, in which Lear \u003cspan style=\"font-weight: 400\">braids together footage from the class with clips from the fictional film that the teens wrote.\u003c/span>\u003c/p>\n\u003cp>Reflecting back on his first week teaching his screenwriting class, Cowan says he was struck by the teens saying they don’t have friends. \u003c/p>\n\u003cp>“There’s homies and there’s enemies,” he says they told him. \u003c/p>\n\u003cp>“But by the end of the 10 weeks,” Cowan says, “they were all friends. You can see them hugging, you can see they felt a lot of success together, they went through a real experience together.”\u003c/p>\n\u003cfigure id=\"attachment_11467108\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11467108\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-800x451.jpg\" alt=\"\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06.jpg 1607w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Antonio, Jarad and Juan hanging in the dayroom at The Compound. \u003ccite>(BMP Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since the documentary was produced in 2013, \u003ca href=\"https://chronicleofsocialchange.org/news-2/california-passes-new-parole-law-for-young-offenders\" target=\"_blank\" rel=\"noopener noreferrer\">the initial parole bill, SB 230, passed\u003c/a>, along with other bills that decrease juvenile sentencing.\u003c/p>\n\u003cp>This means these kids could get a second chance.\u003c/p>\n\u003cp>In Jarad’s case, he’ll likely \u003cspan style=\"font-weight: 400\"> come up for parole in 20-25 years, instead of the 80 or 90 years he would have had with a 160-year sentence. This is true for Juan as well, who has a 90-year sentence.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.pbs.org/independentlens/films/they-call-us-monsters/\" target=\"_blank\" rel=\"noopener\">PBS Independent Lens airs the film on Monday, May 22\u003c/a>. To see the short film, “Los,” written by Juan, Jarad, and Antonio, visit \u003ca href=\"http://insideoutwriters.org/\" target=\"_blank\" rel=\"noopener noreferrer\">InsideOUT Writers.\u003c/a>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Back in 2013, California was debating whether to give teenagers who committed violent crimes a second chance. The proposed bill, \u003c/span>\u003ca href=\"http://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=201320140SB260\">\u003cspan style=\"font-weight: 400\">SB 260\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, would allow juveniles to become eligible for parole earlier in their sentencing, after serving at least 15 years. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s when director \u003ca href=\"http://www.imdb.com/name/nm3435580/\">Ben Lear\u003c/a> knew he had a film to make. \u003c/span>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"They Call Us Monsters Official Trailer 1 (2016) - Documentary\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/u7BQc1Lxm6g?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Lear had been visiting “The Compound,” a high-security facility where Los Angeles houses its most violent juvenile criminals. When he heard about the bill, he joined forces with screenwriter \u003ca href=\"https://www.theycallusmonsters.com/copy-of-sasha-alpert\" target=\"_blank\" rel=\"noopener noreferrer\">Gabriel Cowan\u003c/a> to produce the documentary “\u003ca href=\"http://www.pbs.org/independentlens/films/they-call-us-monsters/\" target=\"_blank\" rel=\"noopener noreferrer\">They Call Us Monsters\u003c/a>.” \u003c/p>\n\u003cp>Cowan had the idea to start a screenwriting class for juvenile offenders after he gave a talk to incarcerated youth while working on another screenplay. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Over the course of a few months, Lear filmed Cowan working with three teenagers — Juan Gamez, Jarad Nava and Antonio Hernandez — who were awaiting trial, some facing sentences more than 100 years long. \u003c/p>\n\u003cp>Juan and Jarad were 16 when they were arrested; Antonio was 14.\u003c/p>\n\u003cfigure id=\"attachment_11467104\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11467104\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-03-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gabriel Cowan teaches a screenwriting class to juvenile offenders at The Compound. \u003ccite>(BMP Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cowan says the juvenile justice system in California is broken. Instead of rehabilitating youth who have committed serious crimes, he says, it’s punishing them.\u003c/p>\n\u003cp>“You can’t punish trauma out of a child, you have to love it out of them,” he says. “And that’s part of what I think works so well with these art programs. People who are trying through art help these kids deal with the trauma that they have gone through.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But it wasn’t easy. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The film documents one of his first visits, when he asks the group to list their fears. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Antonio: “Fear of trust, fear of being alone, fear of public speaking, and fear of vulnerability,” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Juan: “Death, loneliness, darkness, and love.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jarad: “I don’t like snakes, there’s a fear of heights, I’m not scared of heights, but there’s a fear. The dark.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But then, Jarad counters, “No, I’m not scared of the dark.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Seems like you’re avoiding the question,” Cowan replies. “Seems like maybe you’re afraid of the question.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11467106\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11467106\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-07-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gabriel Cowan and his students review their work at The Compound. \u003ccite>(BMP Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Cowan says that getting the teens to open up to him was a long and sometimes difficult process. He had the group do a number of trust exercises. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It wasn’t a direct line, it was a process that had zigzaggy lines. One week they would open up and trust me, and another week they would be joking around and sort of making me the villain.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Cowan gave the teens liberty to choose what they wanted their film to be about. “You can write a science fiction, you can write an animated film, you can write about ninjas, whatever you want.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But the three boys decided to do something mutually biographical. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The plot emerged when the teens were talking about their fears. Juan said he was in love with a girl when he was 10, but was too scared to tell her. His story became one of the main themes in their film.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11467107\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11467107\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-05-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gabriel Cowan at The Compound, where he teaches a screenwriting class to juvenile offenders. \u003ccite>(BMP Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We incorporated that experience, the experience of telling someone you love them and how scary that is,” says Cowan. “[It’s] the loss of innocence of this kid, who in this one day, nearly loses his virginity, smokes pot for the first time, gets kicked out of his house, sees a drive-by shooting, and all while trying to tell this girl that he loves her.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Encouraged by Cowan and his classmates, Juan ended up calling his 10 year-old crush inside the jail.\u003c/span>\u003c/p>\n\u003cp>This scene makes it into the final documentary, in which Lear \u003cspan style=\"font-weight: 400\">braids together footage from the class with clips from the fictional film that the teens wrote.\u003c/span>\u003c/p>\n\u003cp>Reflecting back on his first week teaching his screenwriting class, Cowan says he was struck by the teens saying they don’t have friends. \u003c/p>\n\u003cp>“There’s homies and there’s enemies,” he says they told him. \u003c/p>\n\u003cp>“But by the end of the 10 weeks,” Cowan says, “they were all friends. You can see them hugging, you can see they felt a lot of success together, they went through a real experience together.”\u003c/p>\n\u003cfigure id=\"attachment_11467108\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11467108\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-800x451.jpg\" alt=\"\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/10/2017/05/they_call_us_monsters-press-06.jpg 1607w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Antonio, Jarad and Juan hanging in the dayroom at The Compound. \u003ccite>(BMP Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since the documentary was produced in 2013, \u003ca href=\"https://chronicleofsocialchange.org/news-2/california-passes-new-parole-law-for-young-offenders\" target=\"_blank\" rel=\"noopener noreferrer\">the initial parole bill, SB 230, passed\u003c/a>, along with other bills that decrease juvenile sentencing.\u003c/p>\n\u003cp>This means these kids could get a second chance.\u003c/p>\n\u003cp>In Jarad’s case, he’ll likely \u003cspan style=\"font-weight: 400\"> come up for parole in 20-25 years, instead of the 80 or 90 years he would have had with a 160-year sentence. This is true for Juan as well, who has a 90-year sentence.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.pbs.org/independentlens/films/they-call-us-monsters/\" target=\"_blank\" rel=\"noopener\">PBS Independent Lens airs the film on Monday, May 22\u003c/a>. To see the short film, “Los,” written by Juan, Jarad, and Antonio, visit \u003ca href=\"http://insideoutwriters.org/\" target=\"_blank\" rel=\"noopener noreferrer\">InsideOUT Writers.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Relatives of 18 of the 36 people who died in Oakland's Ghost Ship warehouse fire added California's Pacific Gas & Electric utility on Tuesday as a defendant in their wrongful death lawsuits. They claimed the company should have known the warehouse's electrical hookups were hazardous and illegally installed.\u003c/p>\n\u003cp>Authorities have not disclosed what caused the Dec. 2 fire but have said they are investigating electrical causes. PG&E was added as a defendant to a \"master complaint\" lawsuit that combined the 18 separate lawsuits into one, lawyers for those relatives said.\u003c/p>\n\u003cp>PG&E \"contributed to this fire and horrible loss of life,\" attorney Mary Alexander said. \"It's not about deep pockets, it's about culpability.\"\u003c/p>\n\u003cp>The company responded, in a statement, that it had no reports of electrical theft or problems \"or any other anomalies from this location or the adjacent premises.\"\u003c/p>\n\u003cp>It added that the utility is cooperating with authorities investigating the fire and \"can say that our thoughts and prayers are with the families and friends of the victims of this tragic event.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[contextly_sidebar id=\"QVFJPGfAmJrCvx9zKiHkPpLNrGSF4wG0\"]\u003c/p>\n\u003cp>The lawsuits consolidated in Alameda County Superior Court also claimed that the building's owner, Chor Nar Siu Ng, and the building's leaseholder, Derick Almena, were responsible for the fire and deaths.\u003c/p>\n\u003cp>Ng's phone went unanswered Tuesday, and Almena did not immediately return a telephone message seeking comment.\u003c/p>\n\u003cp>Almena organized the Dec. 2 concert and charged an entrance fee. He and his family also lived in the warehouse and sublet living space to several self-described artists. The warehouse was not licensed for entertainment or residency.\u003c/p>\n\u003cp>The lawsuit claims the warehouse was a cluttered firetrap and that the owner and leaseholder negligently ignored safety hazards.\u003c/p>\n\u003cp>\"I don't have any fantasies this will bring back my baby,\" said Leisa Askew, the mother of 22-year-old Cash Askew, who died in the fire. \"But 36 people died and that is so wrong. Someone needs to be held accountable.\"\u003c/p>\n\u003cp>Alameda County District Attorney Nancy O'Malley said in an interview Monday that she is still investigating whether criminal charges should be filed against anyone in connection with the fire.\u003c/p>\n\u003cp>Oakland city records show neighbors, residents and visitors repeatedly complained about the warehouse to city officials -- citing safety problems, loud parties and other issues with the dilapidated building converted illegally into a living area.\u003c/p>\n\u003cp>Firefighters and other city officials also were called to the property and adjacent buildings. No citations were ever issued.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>PG&E was convicted in August by a federal jury of violating pipeline safety regulations in connection with a natural gas explosion seven years ago that killed eight people and destroyed 38 homes in San Bruno. Regulators also fined PG&E $1.6 billion.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The lawsuits consolidated in Alameda County Superior Court also claimed that the building's owner, Chor Nar Siu Ng, and the building's leaseholder, Derick Almena, were responsible for the fire and deaths.\u003c/p>\n\u003cp>Ng's phone went unanswered Tuesday, and Almena did not immediately return a telephone message seeking comment.\u003c/p>\n\u003cp>Almena organized the Dec. 2 concert and charged an entrance fee. He and his family also lived in the warehouse and sublet living space to several self-described artists. The warehouse was not licensed for entertainment or residency.\u003c/p>\n\u003cp>The lawsuit claims the warehouse was a cluttered firetrap and that the owner and leaseholder negligently ignored safety hazards.\u003c/p>\n\u003cp>\"I don't have any fantasies this will bring back my baby,\" said Leisa Askew, the mother of 22-year-old Cash Askew, who died in the fire. \"But 36 people died and that is so wrong. Someone needs to be held accountable.\"\u003c/p>\n\u003cp>Alameda County District Attorney Nancy O'Malley said in an interview Monday that she is still investigating whether criminal charges should be filed against anyone in connection with the fire.\u003c/p>\n\u003cp>Oakland city records show neighbors, residents and visitors repeatedly complained about the warehouse to city officials -- citing safety problems, loud parties and other issues with the dilapidated building converted illegally into a living area.\u003c/p>\n\u003cp>Firefighters and other city officials also were called to the property and adjacent buildings. No citations were ever issued.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>PG&E was convicted in August by a federal jury of violating pipeline safety regulations in connection with a natural gas explosion seven years ago that killed eight people and destroyed 38 homes in San Bruno. Regulators also fined PG&E $1.6 billion.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Some 200 protesters gathered at President Trump’s golf course near Los Angeles and spread out in the grass to form the word “RESIST!”\u003c/p>\n\u003cp>A group calling itself “Indivisible San Pedro” organized the demonstration Saturday at a public park nestled within Trump National Golf Course in Rancho Palos Verdes.\u003c/p>\n\u003cp>Peter Warren, a retired journalist and volunteer with the group, said Indivisible San Pedro is calling for a special prosecutor to investigate the Trump campaign and Russia’s interference in the 2016 elections. They’re also urging Trump to release his tax returns.\u003c/p>\n\u003cp>“This is not a candidate running for president; this is the president of the United States,” said Warren. “He needs to [release his tax returns].”\u003c/p>\n\u003cp>It took 15 minutes to form the 30-foot-tall letters, after which the group sang “God Bless America.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Warren says it would have been too hard to spell out “release your taxes,” so they opted for “resist” instead.\u003c/p>\n\u003cp>He says golf course officials and sheriff’s deputies watched from the clubhouse but didn’t intervene. Warren says the group held their demonstration in the public access area of the golf course.\u003c/p>\n\u003cp>Warren says this was one of the group’s bigger actions, calling it a “family event.” Kids as young as 1½ participated.\u003c/p>\n\u003cp>As for organizing strategy, Warren says Indivisible San Pedro aims to push people to call their direct representatives on Capitol Hill.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Don’t call Paul Ryan. Don’t call Mitch McConnell,” said Warren. “You have to talk to your members of Congress and tell them: ‘Here’s what I want.’ “\u003c/p>\n\n",
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"content": "\u003cp>This was not exactly the decision VG Media had hoped for.\u003c/p>\n\u003cp>The collective of German publishers had sued Google, arguing that the tech giant has infringed on copyright protections by offering snippets of the publishers’ articles in search results. Those snippets, according to VG Media, hurt the publishers’ bottom line by sating potential readers’ curiosity and violated a 2013 German law that requires compensation for those snippets of text.\u003c/p>\n\u003cp>Yet on Tuesday a Berlin court raised some concerns with the law itself often known in English as the Ancillary Copyright for Press Publishers. The judge questioned whether Germany had properly notified the European Commission — the executive arm of the European Union — before enacting the regulation, suspending the case until the Court of Justice of the European Union could weigh in on whether the law is even valid.\u003c/p>\n\u003cp>The issue hinges on \u003ca href=\"http://ec.europa.eu/growth/tools-databases/tris/en/about-the-20151535/the-notification-procedure-in-brief1/\">an EU directive\u003c/a> that requires member countries such as Germany to alert the organization about “any draft technical regulation prior to its adoption.”\u003c/p>\n\u003cp>Handelsblatt Global, a German business publication, \u003ca href=\"https://global.handelsblatt.com/companies-markets/berlin-court-may-upend-german-copyright-law-700581\">explains why\u003c/a> Germany decided not to notify the EU about the draft of this law:\u003c/p>\n\u003cblockquote>\n\u003cp>“While typically a formality, notification reviews of national laws by Brussels can take up to two years or more. In 2013, Germany did not submit the copyright law for notification, citing a Justice Ministry argument that the law’s scope was so limited, it didn’t fall under the E.U.’s notification requirement.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The court proved skeptical about this reasoning, though its ruling did note that the publishers complaint is at least partially justified — without offering further explanation on this point.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At any rate, Google applauded the decision, saying that it demonstrated the failings of the law.\u003c/p>\n\u003cp>“Today’s decision in Berlin highlights that there are still many contradictions and unanswered questions in the law of ancillary copyright for publishers,” Google said in a statement \u003ca href=\"http://www.pcworld.com/article/3195443/internet/google-case-raises-doubts-about-german-news-copyright-law.html\">quoted by PCWorld\u003c/a>.\u003c/p>\n\u003cp>“We’ve said many times that we don’t want to fight legal battles with publishers,” the statement continues. “We’d much rather work with them to drive traffic to their websites and apps, promote their brands, and support online journalism — and that’s what we’ll continue to do.”\u003c/p>\n\u003cp>Nieman Lab \u003ca href=\"http://www.niemanlab.org/2014/12/the-fight-to-get-google-to-pay-for-news-continues-in-europe/\">reported in 2014\u003c/a> that the law has had something of a rocky life in practice:\u003c/p>\n\u003cblockquote>\n\u003cp>“The law went into effect last August and, while some details still need to be ironed out in court, the controversial heart of it — whether search engines will pay money to publishers — has an uncertain future. Google has refused to pay fees to publish snippets from news sites, and instead \u003ca href=\"http://www.zdnet.com/google-news-now-opt-in-in-germany-as-copyright-law-gets-an-overhaul-7000017193/\">asked German publishers last year to opt in if they want to be included in Google News search results\u003c/a>, waiving their right to cash in on the use of their content according to the new law. To avoid paying the collection agency, VG Media, which represents \u003ca href=\"http://www.vg-media.de/die-gesellschaft.html\">the publishers that chose not to opt in\u003c/a>, Google stopped showing snippets from their news articles on Oct. 23 [2014]. Shortly after that, the publishers in VG Media gave Google a license to restore snippets to their search results — for free. Berlin-based \u003ca href=\"http://www.axelspringer.de/en/index.html\">Axel Springer\u003c/a>, one of Europe’s largest publishers, \u003ca href=\"http://www.axelspringer.de/en/presse/Axel-Springer-concludes-its-data-documentation-Major-losses-resulting-from-downgraded-search-notices-on-Google_22070687.html\">announced on Nov. 5 [2014] that it had caved to Google’s pressure\u003c/a> after traffic to its websites from Google dropped by 40 percent and from Google News by 80 percent when snippets were left out of search results.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>If the law should be invalidated, a prospect that now looms over the case as it heads to the European court, the decision would not only represent a blow to the publishers who brought the case in the first place. It might also raise doubts about a \u003ca href=\"http://ec.europa.eu/transparency/regdoc/rep/1/2016/EN/1-2016-593-EN-F1-1.PDF\">proposed EU-wide directive\u003c/a> that has some similar stipulations to the German copyright rule. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=German+Publishers%27+Lawsuit+Against+Google+Threatens+To+Backfire&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This was not exactly the decision VG Media had hoped for.\u003c/p>\n\u003cp>The collective of German publishers had sued Google, arguing that the tech giant has infringed on copyright protections by offering snippets of the publishers’ articles in search results. Those snippets, according to VG Media, hurt the publishers’ bottom line by sating potential readers’ curiosity and violated a 2013 German law that requires compensation for those snippets of text.\u003c/p>\n\u003cp>Yet on Tuesday a Berlin court raised some concerns with the law itself often known in English as the Ancillary Copyright for Press Publishers. The judge questioned whether Germany had properly notified the European Commission — the executive arm of the European Union — before enacting the regulation, suspending the case until the Court of Justice of the European Union could weigh in on whether the law is even valid.\u003c/p>\n\u003cp>The issue hinges on \u003ca href=\"http://ec.europa.eu/growth/tools-databases/tris/en/about-the-20151535/the-notification-procedure-in-brief1/\">an EU directive\u003c/a> that requires member countries such as Germany to alert the organization about “any draft technical regulation prior to its adoption.”\u003c/p>\n\u003cp>Handelsblatt Global, a German business publication, \u003ca href=\"https://global.handelsblatt.com/companies-markets/berlin-court-may-upend-german-copyright-law-700581\">explains why\u003c/a> Germany decided not to notify the EU about the draft of this law:\u003c/p>\n\u003cblockquote>\n\u003cp>“While typically a formality, notification reviews of national laws by Brussels can take up to two years or more. In 2013, Germany did not submit the copyright law for notification, citing a Justice Ministry argument that the law’s scope was so limited, it didn’t fall under the E.U.’s notification requirement.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The court proved skeptical about this reasoning, though its ruling did note that the publishers complaint is at least partially justified — without offering further explanation on this point.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At any rate, Google applauded the decision, saying that it demonstrated the failings of the law.\u003c/p>\n\u003cp>“Today’s decision in Berlin highlights that there are still many contradictions and unanswered questions in the law of ancillary copyright for publishers,” Google said in a statement \u003ca href=\"http://www.pcworld.com/article/3195443/internet/google-case-raises-doubts-about-german-news-copyright-law.html\">quoted by PCWorld\u003c/a>.\u003c/p>\n\u003cp>“We’ve said many times that we don’t want to fight legal battles with publishers,” the statement continues. “We’d much rather work with them to drive traffic to their websites and apps, promote their brands, and support online journalism — and that’s what we’ll continue to do.”\u003c/p>\n\u003cp>Nieman Lab \u003ca href=\"http://www.niemanlab.org/2014/12/the-fight-to-get-google-to-pay-for-news-continues-in-europe/\">reported in 2014\u003c/a> that the law has had something of a rocky life in practice:\u003c/p>\n\u003cblockquote>\n\u003cp>“The law went into effect last August and, while some details still need to be ironed out in court, the controversial heart of it — whether search engines will pay money to publishers — has an uncertain future. Google has refused to pay fees to publish snippets from news sites, and instead \u003ca href=\"http://www.zdnet.com/google-news-now-opt-in-in-germany-as-copyright-law-gets-an-overhaul-7000017193/\">asked German publishers last year to opt in if they want to be included in Google News search results\u003c/a>, waiving their right to cash in on the use of their content according to the new law. To avoid paying the collection agency, VG Media, which represents \u003ca href=\"http://www.vg-media.de/die-gesellschaft.html\">the publishers that chose not to opt in\u003c/a>, Google stopped showing snippets from their news articles on Oct. 23 [2014]. Shortly after that, the publishers in VG Media gave Google a license to restore snippets to their search results — for free. Berlin-based \u003ca href=\"http://www.axelspringer.de/en/index.html\">Axel Springer\u003c/a>, one of Europe’s largest publishers, \u003ca href=\"http://www.axelspringer.de/en/presse/Axel-Springer-concludes-its-data-documentation-Major-losses-resulting-from-downgraded-search-notices-on-Google_22070687.html\">announced on Nov. 5 [2014] that it had caved to Google’s pressure\u003c/a> after traffic to its websites from Google dropped by 40 percent and from Google News by 80 percent when snippets were left out of search results.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>If the law should be invalidated, a prospect that now looms over the case as it heads to the European court, the decision would not only represent a blow to the publishers who brought the case in the first place. It might also raise doubts about a \u003ca href=\"http://ec.europa.eu/transparency/regdoc/rep/1/2016/EN/1-2016-593-EN-F1-1.PDF\">proposed EU-wide directive\u003c/a> that has some similar stipulations to the German copyright rule. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=German+Publishers%27+Lawsuit+Against+Google+Threatens+To+Backfire&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Preserving the Legacy of Fresno's Hmong B-Boys",
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"content": "\u003cp>Documentary filmmaker Christopher Woon-Chen says he wanted to understand his own relationship with hip-hop culture and breakdancing. He’s Chinese-American and he asked himself, \"Can Asian-Americans be a part of hip-hop, and can we be so authentically?\"\u003c/p>\n\u003cp>He says he thought he could answer this question by “seeking out stories of others doing it, and not just in isolated experiences. I wanted to know about groups of Asian-Americans who were doing hip-hop en masse, and outside of Filipino-Americans in the '90s, that was also Hmong-Americans in the Central Valley.”\u003c/p>\n\u003cp>[contextly_sidebar id=\"vaSK9TaTtRXgMsTgxWwaugDD2JUUQQzU\"]\u003c/p>\n\u003cp>So he started in the Central Valley and found the stories so interesting that he made a 2011 documentary called \u003ca href=\"https://vimeo.com/ondemand/amongbboys/69136669\">\"Among B-Boys.\"\u003c/a> And, he says, the answer to his question about Asian-Americans being a part of hip-hop \u003ca href=\"http://newamericamedia.org/2011/04/hmong-youth-finding-a-place-among-b-boys.php\">was an unequivocal yes\u003c/a>.\u003c/p>\n\u003cp>Historians Romeo Guzman and Sean Slusser at Fresno State agree. They’re currently working alongside graduate students to collect oral histories from Fresno’s Hmong b-boys and b-girls. The \"b\" stands for \"break.\" The project will be archived at Fresno State as part of the \u003ca href=\"https://www.facebook.com/FresnoStatePublicHistory/\">Valley Public History Initiative.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11439105\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11439105\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/panel-3-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Yang, Bobby Bilatout and Ville Thao (L-R) were all Hmong b-boys in the 1990s. \u003ccite>(Valley Public History Initiative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The oral histories start with kids whose parents had fled Laos after the Vietnam War. Many of the older generation had helped the U.S. in the CIA’s Secret War and later came to Fresno after living in refugee camps in Thailand. But the neighborhood they moved into wasn’t exactly easy: lots of crime, a high murder rate and rival gangs everywhere.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Slusser writes in \u003ca href=\"https://tropicsofmeta.wordpress.com/2017/03/31/smurfs-wizards-and-the-history-of-hmong-b-boy-culture-in-southeast-fresno/\">\"Tropics of Meta\"\u003c/a> that the b-boy and b-girl crews \u003cspan style=\"font-weight: 400\">“fulfilled the same function as more traditional community organizations or even gangs. Yet, these bonds were forged through the quintessentially American expression and language of hip-hop.\"\u003c/span>\u003c/p>\n\u003cp>They also were using hip-hop to survive economic depression and crime. Slusser writes, “Ultimately, b-boying was at once a form of self-expression, a way to cope with high levels of poverty, and a tool for refugees and the children of refugees to build community among each other while simultaneously establishing roots in a new land.”\u003c/p>\n\u003cp>Forty-year-old James Vang says he got into a lot of trouble as a teenager and was in a gang. But then he found dance.\u003c/p>\n\u003cp>“This really helped save my life, you know, to help me do something else with my time.”\u003c/p>\n\u003caside class=\"pullquote alignright\">'[The Hmong b-boys] were known throughout the city as the best b-boys. So if you wanted to earn your stripes, if you wanted to earn your reputation as a b-boy, you had to kind of get their respect first.'\u003c/aside>\n\u003cp>He was one of Fresno’s first generation Hmong b-boys.\u003ci>\u003cspan style=\"font-weight: 400\">“\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">We didn’t really have anyone to teach us,” he says. “We were just watching it off of movies [like \"Beat Street\"\u003cem>]\u003c/em> and catching what we could. Kind of make things up as we went. Try to get a signature move, try to create your own identity.\"\u003c/span>\u003c/p>\n\u003cp>He and other kids taught their younger siblings and their cousins. The Hmong community was tight-knit and breakdancing spread like wildfire, not only in Fresno but eventually to other Hmong communities in the Midwest.\u003c/p>\n\u003cp>\"At the time, just being Asian was hard. Once we started breakdancing, it opened up a whole different world,” Vang says.\u003c/p>\n\u003cp>A different world that gave Hmong kids a stake in this new land. It was a world their elders didn’t understand at first.\u003c/p>\n\u003cp>“There wasn’t really a term for 'breakdancing' in the Hmong language,” says Billy Xiong, who also danced in the '90s. He says his mother worried about his safety. She didn’t like him dancing on his head.\u003c/p>\n\u003cp>Slusser says breakdancing had died down around the country after the '80s dance craze. B-boys revived it in the Central Valley.\u003c/p>\n\u003cp>“It was the Hmong b-boys that were kind of the gatekeepers, They were known kind of throughout the city as the best b-boys. So if you wanted to earn your stripes, if you wanted to kind of earn your reputation as a b-boy, you had to kind of get their respect first.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=95MGpzuOjvY\u003c/p>\n\u003cp>Take Charles Montgomery, aka \u003ca href=\"http://www.thespincap.com/bboy-goku-charles-montgomery.html\">B-boy Goku\u003c/a>, He’s part Creole, part Mexican, but he got the gatekeepers’ respect.\u003c/p>\n\u003cp>He is Fresno’s most well-known b-boy today. Goku grew up in the same rough area as the Hmong b-boys. He says it makes sense that they embraced hip-hop.\u003c/p>\n\u003cp>\"Of course, you’re coming out of like rural areas, you just got people struggling, they just want to find some type of way to let it out. We were like a country-town Bronx, you know?” he says.\u003c/p>\n\u003cp>Goku still travels the world breakdancing. But he’ll never forget how the Hmong b-boys inspired him when he was a teenager back in the '90s.\u003c/p>\n\u003cp>“The Hmong really picked it up here,” he says. “It was the thing to do in the Central Valley. Windmills and flares and 90s and head-spins. You’re just like, ‘Wow, this is like a comic book, live-action comic book,' you know?' ”\u003c/p>\n\u003cfigure id=\"attachment_11439163\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11439163\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/panel-2-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(l-r) Yoshi Yang, Billy Xiong, Gary Yang and Ville Thao share their stories at a Fresno State oral history event run by Sean Slusser. (far right). \u003ccite>(Valley Public History Initiative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thirty-seven-year-old Ville Thao can still show off the moves, and today -- the first Saturday in April -- he’s dancing in front of a crowd at Fresno State as part of the oral history project. Earlier in the day, he was part of a panel discussing the Hmong b-boys’ contributions to hip-hop in Fresno.\u003c/p>\n\u003cp>“I wish I could show more but I don’t want to get hurt today. I’ll be hurting tomorrow,” he says, a little breathlessly. “I’m gonna feel it.”\u003c/p>\n\u003cp>But that’s OK. There are plenty of younger folks ready to step up. Even now, new generations of Hmong b-boys perform at the huge Hmong New Year festival in Fresno.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\"I have nephews and nieces now. They come up and they’ll breakdance in front of me, and then their auntie would like say, ‘Yeah, you know your uncle used to breakdance,’ and they look at me and they’re like ‘him?' \" says Thao with a laugh.\u003c/p>\n\n",
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"excerpt": "Breakdancing gave these ‘90s kids -- many of them refugees from Laos -- a stake in their new homeland.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Documentary filmmaker Christopher Woon-Chen says he wanted to understand his own relationship with hip-hop culture and breakdancing. He’s Chinese-American and he asked himself, \"Can Asian-Americans be a part of hip-hop, and can we be so authentically?\"\u003c/p>\n\u003cp>He says he thought he could answer this question by “seeking out stories of others doing it, and not just in isolated experiences. I wanted to know about groups of Asian-Americans who were doing hip-hop en masse, and outside of Filipino-Americans in the '90s, that was also Hmong-Americans in the Central Valley.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>So he started in the Central Valley and found the stories so interesting that he made a 2011 documentary called \u003ca href=\"https://vimeo.com/ondemand/amongbboys/69136669\">\"Among B-Boys.\"\u003c/a> And, he says, the answer to his question about Asian-Americans being a part of hip-hop \u003ca href=\"http://newamericamedia.org/2011/04/hmong-youth-finding-a-place-among-b-boys.php\">was an unequivocal yes\u003c/a>.\u003c/p>\n\u003cp>Historians Romeo Guzman and Sean Slusser at Fresno State agree. They’re currently working alongside graduate students to collect oral histories from Fresno’s Hmong b-boys and b-girls. The \"b\" stands for \"break.\" The project will be archived at Fresno State as part of the \u003ca href=\"https://www.facebook.com/FresnoStatePublicHistory/\">Valley Public History Initiative.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11439105\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11439105\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/panel-3-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-3.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Yang, Bobby Bilatout and Ville Thao (L-R) were all Hmong b-boys in the 1990s. \u003ccite>(Valley Public History Initiative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The oral histories start with kids whose parents had fled Laos after the Vietnam War. Many of the older generation had helped the U.S. in the CIA’s Secret War and later came to Fresno after living in refugee camps in Thailand. But the neighborhood they moved into wasn’t exactly easy: lots of crime, a high murder rate and rival gangs everywhere.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Slusser writes in \u003ca href=\"https://tropicsofmeta.wordpress.com/2017/03/31/smurfs-wizards-and-the-history-of-hmong-b-boy-culture-in-southeast-fresno/\">\"Tropics of Meta\"\u003c/a> that the b-boy and b-girl crews \u003cspan style=\"font-weight: 400\">“fulfilled the same function as more traditional community organizations or even gangs. Yet, these bonds were forged through the quintessentially American expression and language of hip-hop.\"\u003c/span>\u003c/p>\n\u003cp>They also were using hip-hop to survive economic depression and crime. Slusser writes, “Ultimately, b-boying was at once a form of self-expression, a way to cope with high levels of poverty, and a tool for refugees and the children of refugees to build community among each other while simultaneously establishing roots in a new land.”\u003c/p>\n\u003cp>Forty-year-old James Vang says he got into a lot of trouble as a teenager and was in a gang. But then he found dance.\u003c/p>\n\u003cp>“This really helped save my life, you know, to help me do something else with my time.”\u003c/p>\n\u003caside class=\"pullquote alignright\">'[The Hmong b-boys] were known throughout the city as the best b-boys. So if you wanted to earn your stripes, if you wanted to earn your reputation as a b-boy, you had to kind of get their respect first.'\u003c/aside>\n\u003cp>He was one of Fresno’s first generation Hmong b-boys.\u003ci>\u003cspan style=\"font-weight: 400\">“\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">We didn’t really have anyone to teach us,” he says. “We were just watching it off of movies [like \"Beat Street\"\u003cem>]\u003c/em> and catching what we could. Kind of make things up as we went. Try to get a signature move, try to create your own identity.\"\u003c/span>\u003c/p>\n\u003cp>He and other kids taught their younger siblings and their cousins. The Hmong community was tight-knit and breakdancing spread like wildfire, not only in Fresno but eventually to other Hmong communities in the Midwest.\u003c/p>\n\u003cp>\"At the time, just being Asian was hard. Once we started breakdancing, it opened up a whole different world,” Vang says.\u003c/p>\n\u003cp>A different world that gave Hmong kids a stake in this new land. It was a world their elders didn’t understand at first.\u003c/p>\n\u003cp>“There wasn’t really a term for 'breakdancing' in the Hmong language,” says Billy Xiong, who also danced in the '90s. He says his mother worried about his safety. She didn’t like him dancing on his head.\u003c/p>\n\u003cp>Slusser says breakdancing had died down around the country after the '80s dance craze. B-boys revived it in the Central Valley.\u003c/p>\n\u003cp>“It was the Hmong b-boys that were kind of the gatekeepers, They were known kind of throughout the city as the best b-boys. So if you wanted to earn your stripes, if you wanted to kind of earn your reputation as a b-boy, you had to kind of get their respect first.”\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/95MGpzuOjvY'\n title='//www.youtube.com/embed/95MGpzuOjvY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Take Charles Montgomery, aka \u003ca href=\"http://www.thespincap.com/bboy-goku-charles-montgomery.html\">B-boy Goku\u003c/a>, He’s part Creole, part Mexican, but he got the gatekeepers’ respect.\u003c/p>\n\u003cp>He is Fresno’s most well-known b-boy today. Goku grew up in the same rough area as the Hmong b-boys. He says it makes sense that they embraced hip-hop.\u003c/p>\n\u003cp>\"Of course, you’re coming out of like rural areas, you just got people struggling, they just want to find some type of way to let it out. We were like a country-town Bronx, you know?” he says.\u003c/p>\n\u003cp>Goku still travels the world breakdancing. But he’ll never forget how the Hmong b-boys inspired him when he was a teenager back in the '90s.\u003c/p>\n\u003cp>“The Hmong really picked it up here,” he says. “It was the thing to do in the Central Valley. Windmills and flares and 90s and head-spins. You’re just like, ‘Wow, this is like a comic book, live-action comic book,' you know?' ”\u003c/p>\n\u003cfigure id=\"attachment_11439163\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11439163\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/panel-2-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2-520x390.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/panel-2.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(l-r) Yoshi Yang, Billy Xiong, Gary Yang and Ville Thao share their stories at a Fresno State oral history event run by Sean Slusser. (far right). \u003ccite>(Valley Public History Initiative)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thirty-seven-year-old Ville Thao can still show off the moves, and today -- the first Saturday in April -- he’s dancing in front of a crowd at Fresno State as part of the oral history project. Earlier in the day, he was part of a panel discussing the Hmong b-boys’ contributions to hip-hop in Fresno.\u003c/p>\n\u003cp>“I wish I could show more but I don’t want to get hurt today. I’ll be hurting tomorrow,” he says, a little breathlessly. “I’m gonna feel it.”\u003c/p>\n\u003cp>But that’s OK. There are plenty of younger folks ready to step up. Even now, new generations of Hmong b-boys perform at the huge Hmong New Year festival in Fresno.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"I have nephews and nieces now. They come up and they’ll breakdance in front of me, and then their auntie would like say, ‘Yeah, you know your uncle used to breakdance,’ and they look at me and they’re like ‘him?' \" says Thao with a laugh.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "'Blue Collar Green Water': The Art of Working on S.F. Bay Ferries",
"title": "'Blue Collar Green Water': The Art of Working on S.F. Bay Ferries",
"headTitle": "News Fix | KQED News",
"content": "\u003cp>[dropcap]C[/dropcap]ommuting on Bay Area ferries might not be quite the perfect experience it used to be. Mostly because, like other ways of getting to and from work in this booming region, you're going to find bigger crowds than ever.\u003c/p>\n\u003cp>But if you look up from your iPhone or laptop once the boat's left the dock, you'll find yourself in direct contact with the always unfolding drama of San Francisco Bay -- the changing light, surging water and expansive vistas of bridges, skylines, shipping and, yes, even nature.\u003c/p>\n\u003cp>The people who experience this drama more often and more intimately than anyone else are those who work on the boats. To give the rest of us a glimpse of their world and how they see it, one group of workers is putting on a photo exhibition opening Friday at San Francisco's Pier 1.\u003c/p>\n\u003cp>The \"\u003ca href=\"http://www.bluecollargreenwater.com/\" target=\"_blank\">Blue Collar Green Water\u003c/a>\" show features juried work from deckhands, guest service reps, bartenders, captains and others who work for the \u003ca href=\"http://www.blueandgoldfleet.com/\" target=\"_blank\">Blue & Gold Fleet\u003c/a>. That's the company that operates the \u003ca href=\"http://sanfranciscobayferry.com/\" target=\"_blank\">San Francisco Bay Ferry\u003c/a> service under contract with the Water Emergency Transportation Authority. It's also known for its tourist cruises from San Francisco's Pier 41.\u003c/p>\n\u003cp>[audio src=\"http://www.kqed.org/.stream/anon/radio/RDnews/2017/05/BrekkeFerryService.mp3\" title=\"'Blue Collar Green Water': The Art of Working on S.F. Bay Ferries\" program=\"KQED News\" image=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/1A-Vince-Forever-1920x1281.jpg\"]\u003c/p>\n\u003cp>Rebecca Johnson, an Oakland native who's been a deckhand on the bay for 20 years, is the moving spirit behind \"Blue Collar Green Water.\" The idea was inspired by the pictures she saw other ferry workers taking every day on the job.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"Working on the bay, you see it so many different ways,\" she says. \"You see it cold and foggy, you see it sunny and bright. And so I thought, why not find a way to share these photos with each other and with the people who don’t know what our jobs are.\"\u003c/p>\n\u003cp>When she suggested a group photo project to her fellow workers a couple of years ago, she found lots of excitement. Out of that, a collective was formed to invite submissions from Blue & Gold crew members, design a website and produce a promotional video. A panel that included local professional photographers was created to judge the submissions for the exhibit.\u003c/p>\n\u003cp>Someone else really liked the \"Blue Collar Green Water\" idea, too: company management. Johnson brought her plan for a photo exhibition to Carolyn Horgan, then Blue & Gold's president.\u003c/p>\n\u003cp>The project allowed workers from the fleet's different units and unions to work together on something. The proposed show also fits in with a company goal.\u003c/p>\n\u003cp>\"The thing that really appealed to me about it is that Blue & Gold was working hard on employee engagement,\" Horgan says. \"And this would be the ultimate of employee engagement.\"\u003c/p>\n\u003cp>But there was more to it than that. Horgan, who is now retired, says the pictures in the show highlight the skill and grace involved in operating a fleet that carries millions of passengers each year.\u003c/p>\n\u003cp>\"It's just people doing something -- tasks that I saw a lot, but other people maybe are not as familiar with, even tying up a boat,\" Horgan says. There's a beauty in something as simple as a deckhand \"taking a line and putting it around a cleat.\"\u003c/p>\n\u003cfigure id=\"attachment_11440262\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/pastel.jpg\">\u003cimg class=\"size-medium wp-image-11440262\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/pastel-800x621.jpg\" alt=\"\" width=\"800\" height=\"621\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/pastel-800x621.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/pastel-160x124.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/pastel-1020x792.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/pastel.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/pastel-1180x916.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/pastel-960x746.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/pastel-240x186.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/pastel-375x291.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/pastel-520x404.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\"Pastel,\" by Joe Lovett. \u003ccite>(Courtesy of \"Blue Collar Green Water\")\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Johnson says the show has another point, too. At a time when unions and recognition of the importance of blue-collar work have become topics of national conversation, the exhibit showcases the humanity and pride of those who labor on the bay.\u003c/p>\n\u003cp>\"I would love for people to just know that the workers on these ferries -- they’re union workers, and they’re getting wages that allow them to live in the Bay Area,\" Johnson says. \"And why not? It should be this way.\"\u003c/p>\n\u003cp>“Blue Collar Green Water” will be on display at Pier 1 on San Francisco's Embarcadero, next to the Ferry Building, through May 31.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://player.vimeo.com/video/183445426\" width=\"800\" height=\"450\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">C\u003c/span>\u003c/p>\u003cp>ommuting on Bay Area ferries might not be quite the perfect experience it used to be. Mostly because, like other ways of getting to and from work in this booming region, you're going to find bigger crowds than ever.\u003c/p>\n\u003cp>But if you look up from your iPhone or laptop once the boat's left the dock, you'll find yourself in direct contact with the always unfolding drama of San Francisco Bay -- the changing light, surging water and expansive vistas of bridges, skylines, shipping and, yes, even nature.\u003c/p>\n\u003cp>The people who experience this drama more often and more intimately than anyone else are those who work on the boats. To give the rest of us a glimpse of their world and how they see it, one group of workers is putting on a photo exhibition opening Friday at San Francisco's Pier 1.\u003c/p>\n\u003cp>The \"\u003ca href=\"http://www.bluecollargreenwater.com/\" target=\"_blank\">Blue Collar Green Water\u003c/a>\" show features juried work from deckhands, guest service reps, bartenders, captains and others who work for the \u003ca href=\"http://www.blueandgoldfleet.com/\" target=\"_blank\">Blue & Gold Fleet\u003c/a>. That's the company that operates the \u003ca href=\"http://sanfranciscobayferry.com/\" target=\"_blank\">San Francisco Bay Ferry\u003c/a> service under contract with the Water Emergency Transportation Authority. It's also known for its tourist cruises from San Francisco's Pier 41.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Rebecca Johnson, an Oakland native who's been a deckhand on the bay for 20 years, is the moving spirit behind \"Blue Collar Green Water.\" The idea was inspired by the pictures she saw other ferry workers taking every day on the job.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"Working on the bay, you see it so many different ways,\" she says. \"You see it cold and foggy, you see it sunny and bright. And so I thought, why not find a way to share these photos with each other and with the people who don’t know what our jobs are.\"\u003c/p>\n\u003cp>When she suggested a group photo project to her fellow workers a couple of years ago, she found lots of excitement. Out of that, a collective was formed to invite submissions from Blue & Gold crew members, design a website and produce a promotional video. A panel that included local professional photographers was created to judge the submissions for the exhibit.\u003c/p>\n\u003cp>Someone else really liked the \"Blue Collar Green Water\" idea, too: company management. Johnson brought her plan for a photo exhibition to Carolyn Horgan, then Blue & Gold's president.\u003c/p>\n\u003cp>The project allowed workers from the fleet's different units and unions to work together on something. The proposed show also fits in with a company goal.\u003c/p>\n\u003cp>\"The thing that really appealed to me about it is that Blue & Gold was working hard on employee engagement,\" Horgan says. \"And this would be the ultimate of employee engagement.\"\u003c/p>\n\u003cp>But there was more to it than that. Horgan, who is now retired, says the pictures in the show highlight the skill and grace involved in operating a fleet that carries millions of passengers each year.\u003c/p>\n\u003cp>\"It's just people doing something -- tasks that I saw a lot, but other people maybe are not as familiar with, even tying up a boat,\" Horgan says. There's a beauty in something as simple as a deckhand \"taking a line and putting it around a cleat.\"\u003c/p>\n\u003cfigure id=\"attachment_11440262\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/pastel.jpg\">\u003cimg class=\"size-medium wp-image-11440262\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/05/pastel-800x621.jpg\" alt=\"\" width=\"800\" height=\"621\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/05/pastel-800x621.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/pastel-160x124.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/pastel-1020x792.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/pastel.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/pastel-1180x916.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/pastel-960x746.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/pastel-240x186.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/pastel-375x291.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/05/pastel-520x404.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\"Pastel,\" by Joe Lovett. \u003ccite>(Courtesy of \"Blue Collar Green Water\")\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Johnson says the show has another point, too. At a time when unions and recognition of the importance of blue-collar work have become topics of national conversation, the exhibit showcases the humanity and pride of those who labor on the bay.\u003c/p>\n\u003cp>\"I would love for people to just know that the workers on these ferries -- they’re union workers, and they’re getting wages that allow them to live in the Bay Area,\" Johnson says. \"And why not? It should be this way.\"\u003c/p>\n\u003cp>“Blue Collar Green Water” will be on display at Pier 1 on San Francisco's Embarcadero, next to the Ferry Building, through May 31.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://player.vimeo.com/video/183445426\" width=\"800\" height=\"450\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Hollywood Writers, Producers Reach Deal Averting Strike",
"title": "Hollywood Writers, Producers Reach Deal Averting Strike",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Hollywood writers and producers reached a tentative deal early Tuesday, averting a strike that could have crippled TV and film production and inflicted harm on the wider California economy.\u003c/p>\n\u003cp>The three-year agreement, which requires ratification by members of the Writers Guild of America, was confirmed by the union and Alliance of Motion Picture and Television Producers spokesman Jarryd Gonzales shortly after the current contract expired early Tuesday. The deal followed a flurry of last-minute bargaining, conducted during a media blackout that offered no tangible details about whether picket lines would go up Tuesday morning.\u003c/p>\n\u003cp>\"There was a collective applause when it happened,\" said screenwriter Bert V. Royal. \"I think we’re all relieved and excited to get back to the work at hand.\"\u003c/p>\n\u003cp>https://twitter.com/Travon/status/859322462240198656\u003c/p>\n\u003cp>In a memo to its members, the Guild said gains were made across the board, including contributions to the union's health plan that should \"ensure its solvency for years to come\" — an issue that writers considered key.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Guild said it also made strides in pay for series with fewer episodes per season, and in residuals. Members overall will net $130 million more over the contract's life than they were expected to accept, according to the memo.\u003c/p>\n\u003cp>It's hard to know what the figure means; The Guild said on Friday it was seeking $156 million annually in enhancements from the studios.\u003c/p>\n\u003cp>\"There's a lot of messaging here,\" said Jonathan Handel, an entertainment lawyer and editor at the Hollywood Reporter.\u003c/p>\n\u003cp>Handel said the deal includes important gains for Guild members, most notably increased contributions for health insurance and raises for TV writers. However, he said the deal does not appear to be as favorable for screenwriters, noting that \u003ca href=\"http://www.wga.org/members/membership-information/contract-2017/bulletin/\">the Guild had removed a contract bulletin from its website that talked about declining income for screenwriters.\u003c/a>\u003c/p>\n\u003cp>\"That page is gone,\" said Handel. \"The other bulletins are still up there.\"\u003c/p>\n\u003cp>The producers did not release any details regarding the agreement.\u003c/p>\n\u003cp>https://twitter.com/ellenstutzman/status/859329077529858048\u003c/p>\n\u003cp>The agreement spares the late-night shows that would immediately have gone dark without writers, and allows the networks to pursue their schedules for the upcoming TV season without interruption. Movie production would have felt a strike's sting more gradually.\u003c/p>\n\u003cp>Guild members voted overwhelmingly last month to authorize a strike, and the WGA could have called for an immediate walkout Tuesday absent a deal. The previous writers' strike exacted an estimated $2 billion toll on the state. The producers group said the 2007-08 strike cost writers $287 million in lost compensation.\u003c/p>\n\u003cp>Russ DeVol, the chief research officer at the Milken Institute, estimated a strike of similar duration would have cost California $2.5 billion today.\u003c/p>\n\u003cp>After the 2007-08 strike, the two sides reached agreements in 2010 and 2013, but TV writers in particular have seen their earnings slide since then and wanted to claw back some of those losses.\u003c/p>\n\u003cp>Driving the dispute were changes in how television is distributed, with streaming platforms, including Netflix and Amazon, joining broadcast and cable TV and rising in importance.\u003c/p>\n\u003cp>More outlets have led to more shows, but the TV season model is greatly changed. Despite the fact that there are more series than ever -- 455 this season, more than double the number six years ago -- shows run for fewer episodes than the traditional 22-24 episode broadcast series.\u003c/p>\n\u003cp>Short seasons of eight, 10 or 12 episodes means less pay for writers whose payment is structured on a per-episode basis.\u003c/p>\n\u003cp>To address that, the guild said it won additional compensation for writers who spend more than 2.4 weeks working on a script.\u003c/p>\n\u003cp>https://twitter.com/sheilacalla/status/859307942176210944\u003c/p>\n\u003cp>https://twitter.com/travishelwig/status/859302117055512576\u003c/p>\n\u003cp>https://twitter.com/saraschaefer1/status/859311332021030912\u003c/p>\n\u003cp>The guild also touted first-time job protection for writers on parental leave.\u003c/p>\n\u003cp>\"That shows that there is a cultural shift that’s happening in the industry in terms of who writers are -- there are women working in the industry,\" said Miranda Banks, author of \"The Writers: A History of American Screenwriters and Their Guild.\"\u003c/p>\n\u003cp>The agreement avoided a repeat of the 2007-08 strike, which played out in true Hollywood style. Writers took to social media to make their case, entertainingly. Stars, including Julia Louis-Dreyfus and Tina Fey, joined picket lines, and then-\"Tonight Show\" host Jay Leno brought doughnuts for strikers.\u003c/p>\n\u003cp>Before Tuesday's deal was announced, writer-actress Lena Dunham said she would back a strike this time.\u003c/p>\n\u003cp>\"I would never have had the health coverage I had without the union, and that's one of the main points in this,\" Dunham said at the Met Gala on Monday night.\u003c/p>\n\u003cp>Actress Debra Winger said she would support any reasonable job action by the writers, but was mindful of the damage it would cause.\u003c/p>\n\u003cp>\"I'm thinking of all the businesses that I work with at Warner Bros. for several months out of the year and (the) restaurants, shoe repair, dry cleaners,\" Winger said during an interview promoting her new film, \"The Lovers.\" ''The last writers' strike affected the city of Los Angeles in a devastating way.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At the Met Gala, CBS chairman and CEO Les Moonves said he was guardedly optimistic that a deal would be reached without a strike.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In a memo to its members, the Guild said gains were made across the board, including contributions to the union's health plan that should \"ensure its solvency for years to come\" — an issue that writers considered key.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Guild said it also made strides in pay for series with fewer episodes per season, and in residuals. Members overall will net $130 million more over the contract's life than they were expected to accept, according to the memo.\u003c/p>\n\u003cp>It's hard to know what the figure means; The Guild said on Friday it was seeking $156 million annually in enhancements from the studios.\u003c/p>\n\u003cp>\"There's a lot of messaging here,\" said Jonathan Handel, an entertainment lawyer and editor at the Hollywood Reporter.\u003c/p>\n\u003cp>Handel said the deal includes important gains for Guild members, most notably increased contributions for health insurance and raises for TV writers. However, he said the deal does not appear to be as favorable for screenwriters, noting that \u003ca href=\"http://www.wga.org/members/membership-information/contract-2017/bulletin/\">the Guild had removed a contract bulletin from its website that talked about declining income for screenwriters.\u003c/a>\u003c/p>\n\u003cp>\"That page is gone,\" said Handel. \"The other bulletins are still up there.\"\u003c/p>\n\u003cp>The producers did not release any details regarding the agreement.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The agreement spares the late-night shows that would immediately have gone dark without writers, and allows the networks to pursue their schedules for the upcoming TV season without interruption. Movie production would have felt a strike's sting more gradually.\u003c/p>\n\u003cp>Guild members voted overwhelmingly last month to authorize a strike, and the WGA could have called for an immediate walkout Tuesday absent a deal. The previous writers' strike exacted an estimated $2 billion toll on the state. The producers group said the 2007-08 strike cost writers $287 million in lost compensation.\u003c/p>\n\u003cp>Russ DeVol, the chief research officer at the Milken Institute, estimated a strike of similar duration would have cost California $2.5 billion today.\u003c/p>\n\u003cp>After the 2007-08 strike, the two sides reached agreements in 2010 and 2013, but TV writers in particular have seen their earnings slide since then and wanted to claw back some of those losses.\u003c/p>\n\u003cp>Driving the dispute were changes in how television is distributed, with streaming platforms, including Netflix and Amazon, joining broadcast and cable TV and rising in importance.\u003c/p>\n\u003cp>More outlets have led to more shows, but the TV season model is greatly changed. Despite the fact that there are more series than ever -- 455 this season, more than double the number six years ago -- shows run for fewer episodes than the traditional 22-24 episode broadcast series.\u003c/p>\n\u003cp>Short seasons of eight, 10 or 12 episodes means less pay for writers whose payment is structured on a per-episode basis.\u003c/p>\n\u003cp>To address that, the guild said it won additional compensation for writers who spend more than 2.4 weeks working on a script.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The guild also touted first-time job protection for writers on parental leave.\u003c/p>\n\u003cp>\"That shows that there is a cultural shift that’s happening in the industry in terms of who writers are -- there are women working in the industry,\" said Miranda Banks, author of \"The Writers: A History of American Screenwriters and Their Guild.\"\u003c/p>\n\u003cp>The agreement avoided a repeat of the 2007-08 strike, which played out in true Hollywood style. Writers took to social media to make their case, entertainingly. Stars, including Julia Louis-Dreyfus and Tina Fey, joined picket lines, and then-\"Tonight Show\" host Jay Leno brought doughnuts for strikers.\u003c/p>\n\u003cp>Before Tuesday's deal was announced, writer-actress Lena Dunham said she would back a strike this time.\u003c/p>\n\u003cp>\"I would never have had the health coverage I had without the union, and that's one of the main points in this,\" Dunham said at the Met Gala on Monday night.\u003c/p>\n\u003cp>Actress Debra Winger said she would support any reasonable job action by the writers, but was mindful of the damage it would cause.\u003c/p>\n\u003cp>\"I'm thinking of all the businesses that I work with at Warner Bros. for several months out of the year and (the) restaurants, shoe repair, dry cleaners,\" Winger said during an interview promoting her new film, \"The Lovers.\" ''The last writers' strike affected the city of Los Angeles in a devastating way.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At the Met Gala, CBS chairman and CEO Les Moonves said he was guardedly optimistic that a deal would be reached without a strike.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "California Sounds: Nite Jewel, Derrick Anderson and Adam Turchin",
"title": "California Sounds: Nite Jewel, Derrick Anderson and Adam Turchin",
"headTitle": "The California Report | KQED News",
"content": "\u003ch3>Nite Jewel\u003c/h3>\n\u003cp>When a young woman with a philosophy degree has a song called “The Answer,” you might expect something a little heavier than what \u003ca href=\"http://www.nitejewel.com/\" target=\"_blank\">Nite Jewel\u003c/a>, aka Ramona Gonzalez, has done. But you also might not expect something so pleasurable.\u003c/p>\n\u003cp>Having taken the Nite Jewel nom-de-music while still an undergrad at Occidental College more than a decade ago, she’s long sought a balance between heavy and light, between art and pop in her songs and videos. Heck, she had a 2011 song asking the ultimate philosophy question, “Am I Real?” posed in bubbly electro-pop and accompanied by a dreamscape video befitting someone who has done multimedia installations. And she has collaborated with always-arty Angeleno musician Julia Holter in the combined guise of Jewelia.\u003c/p>\n\u003cp>But with her new album, “Real High,” she’s given herself over to the pure joys -- and sorrows -- of love in the sensual realm, not the philosophical one, and is inviting us to join her in that pursuit. That invitation comes in the delightful form of understated, silky-smooth soul-pop, her lovely voice set in spare, deftly crafted electronics made by her and her producer/husband Cole M.G.N., who has worked with Beck, Snoop Dogg and many others. And yet, throughout the album there’s a smartness, and artfulness, at every turn. It almost seems, in the title of another highlight from the album, “2 Good 2 Be True.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rDeiQvoCT_A\u003c/p>\n\u003cp>As that title’s spelling might tip off, there’s a strong grounding here in the music of the early ‘80s. You could easily imagine the silky-smooth, understated sounds of almost anything here slotted alongside, oh, a Madonna song on MTV late night circa 1983, or used as a cool-down track in the hands of a savvy club deejay around that same time. It’s not a big shift -- she’s cited Janet Jackson and Mariah Carey among her influences. But there’s both a dreaminess and maturity in these tracks that break away from any nostalgia.\u003c/p>\n\u003ch3>Derrick Anderson\u003c/h3>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11428558\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/Derrick-Anderson-Press-Photo-by-W.-Scott-Prestwood-800x640.jpg\" alt=\"Derrick Anderson Press Photo by W. Scott Prestwood\" width=\"800\" height=\"640\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/Derrick-Anderson-Press-Photo-by-W.-Scott-Prestwood-800x640.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Derrick-Anderson-Press-Photo-by-W.-Scott-Prestwood-160x128.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Derrick-Anderson-Press-Photo-by-W.-Scott-Prestwood-1020x816.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Derrick-Anderson-Press-Photo-by-W.-Scott-Prestwood-1920x1537.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Derrick-Anderson-Press-Photo-by-W.-Scott-Prestwood-1180x945.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Derrick-Anderson-Press-Photo-by-W.-Scott-Prestwood-960x768.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Derrick-Anderson-Press-Photo-by-W.-Scott-Prestwood-240x192.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Derrick-Anderson-Press-Photo-by-W.-Scott-Prestwood-375x300.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Derrick-Anderson-Press-Photo-by-W.-Scott-Prestwood-520x416.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If you’ve seen the Bangles in the last decade or so, you may have been wondering, “Who’s that guy off to the side?” Well, that’s \u003ca href=\"https://www.derrickandersonmusic.com/\" target=\"_blank\">Derrick Anderson\u003c/a>. If you’ve had the great pleasure of being at any of the shows done in the L.A. area by the Wild Honey organizations — all-star full-album benefit tributes to the Beatles, Big Star, the Band and so on — you’ve seen Anderson anchoring the house band as well.\u003c/p>\n\u003cp>So then you won’t be too surprised to hear that his solo album, the first after a long career primarily as a sideman, is a full-on blast of power-pop glory. Or maybe you didn’t notice him. He tends to be a quiet guy, stays out of the spotlight, just gets the job done. But that has won him a fan base among his fellow musicians, and many of them eagerly joined in to help on this.\u003c/p>\n\u003cp>“A World of My Own” is populated with the three principal Bangles, the Smithereens, three Cowsills, Kim Shattuck of the Muffs and Pandoras, Steve Barton of Translator -- most of them Big Honey regulars, too. And, on the somber waltz “Spring,” Anderson reunites with Robby Rist, Wil O’Brien and Marc Joseph, his partners in the ’90s-‘00s L.A. band the Andersons! (exclamation point included).\u003c/p>\n\u003cp>\u003cimg class=\"alignnone wp-image-11428555 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-800x800.jpg\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>“Revolver”-esque guitars (naturally) chime throughout, from the very first notes of opener “Send Me Down a Sign.” There’s a swampy Creedence-via-Memphis kick to “You Don’t Have to Hurt No More.” “Waiting for You,” featuring the Smithereens, has a bit of that band’s darkness -- the Smithereens are a clear influence in several of the songs. And the Beatles (naturally) are never really out of earshot, implicitly present throughout and implicitly in “Happiness,” with its “Dr. Robert”-like riff, and “Stop Messin’ About,” with an audience cheering along to evoke the Fabs’ Shea Stadium romp through “I’m Down.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LMJtpyzc8TY\u003c/p>\n\u003cp>As if there’s any doubt, the set closes with “Norwegian Wood,” transformed into a garage-rock rave (though with the odd choice to replace John Lennon’s original, dreamy melody with an enthusiastic, but less-interesting line).\u003c/p>\n\u003cp>OK, so it’s not exactly, as one song title puts it, “Something New.” Anderson and friends still put some sparkle on the old sounds.\u003c/p>\n\u003ch3>Adam Turchin\u003c/h3>\n\u003cfigure id=\"attachment_11428557\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11428557 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/Adam-Turchin_1-800x533.jpg\" alt=\"Adam Turchin_1\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_1-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_1-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_1-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_1-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_1-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_1-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_1-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_1-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Saxophonist Adam Turchin\u003c/figcaption>\u003c/figure>\n\u003cp>As the title suggests, “Manifest Destiny” is the story of a westward journey, in this case the one taken seven years ago by sax player and composer \u003ca href=\"https://adamturchin.bandcamp.com/\" target=\"_blank\">Adam Turchin\u003c/a> when he left his Philadelphia home in a beat-up car for the wild frontier of Los Angeles, having sold all but one of his instruments to pay his way.\u003c/p>\n\u003cp>It was a fortuitous trek, as soon on arrival he met musician and producer Terrace Martin, who in turn introduced him to Kendrick Lamar, who brought Turchin in to play baritone on what turned out to be one of the defining albums of recent years, “To Pimp a Butterfly.” The jazz elements, with Turchin, Martin and Kamasi Washington among the contributors, were key to that triumph.\u003c/p>\n\u003cp>With \"Manifest Destiny,\" Turchin triumphs in a different way. This is not jazz per se, nor is it really hip-hop, though it involves elements of both. It’s something of an impressionist amalgam, Turchin as composer, arranger, orchestrator, producer, playing keyboards, guitar, electronics and, of course, sax, supplemented by a small cast of other musicians. Martin makes a couple of appearances and vocalists Rose Gold, Kate Faust, Javier Starks and Brandon Ashe each get billing as “primary artist” on various songs.\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11428556\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover-800x800.jpeg\" alt=\"Adam Turchin_Manifest Destiny_Cover\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover-800x800.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover-160x160.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover-240x240.jpeg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover-375x375.jpeg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover-520x520.jpeg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover-32x32.jpeg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover-50x50.jpeg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover-64x64.jpeg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover-96x96.jpeg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover-128x128.jpeg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover-150x150.jpeg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The titles give some hints to the story: “Gold Rush,” “My Mind is Moving So Crazy,” “Tell Me No Dreams; Sell Me No Schemes” and “Fruition” make up one sequence. “Destiny Is Just a Dream” wraps up the combination of gratitude and determination. And it’s no accident that there is repeated use of the terms \u003ci>dream\u003c/i> and \u003ci>destiny\u003c/i>.\u003c/p>\n\u003cp>Turchin, by the way, is not on Lamar’s new “Damn.” Lamar went with a more stripped-down hip-hop approach this time, and listening to “Manifest Destiny” you might get a little sense of what’s missing.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Tg3iGQhAj4Q\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch3>Nite Jewel\u003c/h3>\n\u003cp>When a young woman with a philosophy degree has a song called “The Answer,” you might expect something a little heavier than what \u003ca href=\"http://www.nitejewel.com/\" target=\"_blank\">Nite Jewel\u003c/a>, aka Ramona Gonzalez, has done. But you also might not expect something so pleasurable.\u003c/p>\n\u003cp>Having taken the Nite Jewel nom-de-music while still an undergrad at Occidental College more than a decade ago, she’s long sought a balance between heavy and light, between art and pop in her songs and videos. Heck, she had a 2011 song asking the ultimate philosophy question, “Am I Real?” posed in bubbly electro-pop and accompanied by a dreamscape video befitting someone who has done multimedia installations. And she has collaborated with always-arty Angeleno musician Julia Holter in the combined guise of Jewelia.\u003c/p>\n\u003cp>But with her new album, “Real High,” she’s given herself over to the pure joys -- and sorrows -- of love in the sensual realm, not the philosophical one, and is inviting us to join her in that pursuit. That invitation comes in the delightful form of understated, silky-smooth soul-pop, her lovely voice set in spare, deftly crafted electronics made by her and her producer/husband Cole M.G.N., who has worked with Beck, Snoop Dogg and many others. And yet, throughout the album there’s a smartness, and artfulness, at every turn. It almost seems, in the title of another highlight from the album, “2 Good 2 Be True.”\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/rDeiQvoCT_A'\n title='//www.youtube.com/embed/rDeiQvoCT_A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As that title’s spelling might tip off, there’s a strong grounding here in the music of the early ‘80s. You could easily imagine the silky-smooth, understated sounds of almost anything here slotted alongside, oh, a Madonna song on MTV late night circa 1983, or used as a cool-down track in the hands of a savvy club deejay around that same time. It’s not a big shift -- she’s cited Janet Jackson and Mariah Carey among her influences. But there’s both a dreaminess and maturity in these tracks that break away from any nostalgia.\u003c/p>\n\u003ch3>Derrick Anderson\u003c/h3>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11428558\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/Derrick-Anderson-Press-Photo-by-W.-Scott-Prestwood-800x640.jpg\" alt=\"Derrick Anderson Press Photo by W. Scott Prestwood\" width=\"800\" height=\"640\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/Derrick-Anderson-Press-Photo-by-W.-Scott-Prestwood-800x640.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Derrick-Anderson-Press-Photo-by-W.-Scott-Prestwood-160x128.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Derrick-Anderson-Press-Photo-by-W.-Scott-Prestwood-1020x816.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Derrick-Anderson-Press-Photo-by-W.-Scott-Prestwood-1920x1537.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Derrick-Anderson-Press-Photo-by-W.-Scott-Prestwood-1180x945.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Derrick-Anderson-Press-Photo-by-W.-Scott-Prestwood-960x768.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Derrick-Anderson-Press-Photo-by-W.-Scott-Prestwood-240x192.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Derrick-Anderson-Press-Photo-by-W.-Scott-Prestwood-375x300.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Derrick-Anderson-Press-Photo-by-W.-Scott-Prestwood-520x416.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If you’ve seen the Bangles in the last decade or so, you may have been wondering, “Who’s that guy off to the side?” Well, that’s \u003ca href=\"https://www.derrickandersonmusic.com/\" target=\"_blank\">Derrick Anderson\u003c/a>. If you’ve had the great pleasure of being at any of the shows done in the L.A. area by the Wild Honey organizations — all-star full-album benefit tributes to the Beatles, Big Star, the Band and so on — you’ve seen Anderson anchoring the house band as well.\u003c/p>\n\u003cp>So then you won’t be too surprised to hear that his solo album, the first after a long career primarily as a sideman, is a full-on blast of power-pop glory. Or maybe you didn’t notice him. He tends to be a quiet guy, stays out of the spotlight, just gets the job done. But that has won him a fan base among his fellow musicians, and many of them eagerly joined in to help on this.\u003c/p>\n\u003cp>“A World of My Own” is populated with the three principal Bangles, the Smithereens, three Cowsills, Kim Shattuck of the Muffs and Pandoras, Steve Barton of Translator -- most of them Big Honey regulars, too. And, on the somber waltz “Spring,” Anderson reunites with Robby Rist, Wil O’Brien and Marc Joseph, his partners in the ’90s-‘00s L.A. band the Andersons! (exclamation point included).\u003c/p>\n\u003cp>\u003cimg class=\"alignnone wp-image-11428555 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-800x800.jpg\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215-150x150.jpg 150w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Anderson-Derrick-A-World-Of-My-Own-OV-215.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>“Revolver”-esque guitars (naturally) chime throughout, from the very first notes of opener “Send Me Down a Sign.” There’s a swampy Creedence-via-Memphis kick to “You Don’t Have to Hurt No More.” “Waiting for You,” featuring the Smithereens, has a bit of that band’s darkness -- the Smithereens are a clear influence in several of the songs. And the Beatles (naturally) are never really out of earshot, implicitly present throughout and implicitly in “Happiness,” with its “Dr. Robert”-like riff, and “Stop Messin’ About,” with an audience cheering along to evoke the Fabs’ Shea Stadium romp through “I’m Down.”\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/LMJtpyzc8TY'\n title='//www.youtube.com/embed/LMJtpyzc8TY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As if there’s any doubt, the set closes with “Norwegian Wood,” transformed into a garage-rock rave (though with the odd choice to replace John Lennon’s original, dreamy melody with an enthusiastic, but less-interesting line).\u003c/p>\n\u003cp>OK, so it’s not exactly, as one song title puts it, “Something New.” Anderson and friends still put some sparkle on the old sounds.\u003c/p>\n\u003ch3>Adam Turchin\u003c/h3>\n\u003cfigure id=\"attachment_11428557\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11428557 size-medium\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/Adam-Turchin_1-800x533.jpg\" alt=\"Adam Turchin_1\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_1-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_1-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_1-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_1-1920x1280.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_1-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_1-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_1-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_1-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Saxophonist Adam Turchin\u003c/figcaption>\u003c/figure>\n\u003cp>As the title suggests, “Manifest Destiny” is the story of a westward journey, in this case the one taken seven years ago by sax player and composer \u003ca href=\"https://adamturchin.bandcamp.com/\" target=\"_blank\">Adam Turchin\u003c/a> when he left his Philadelphia home in a beat-up car for the wild frontier of Los Angeles, having sold all but one of his instruments to pay his way.\u003c/p>\n\u003cp>It was a fortuitous trek, as soon on arrival he met musician and producer Terrace Martin, who in turn introduced him to Kendrick Lamar, who brought Turchin in to play baritone on what turned out to be one of the defining albums of recent years, “To Pimp a Butterfly.” The jazz elements, with Turchin, Martin and Kamasi Washington among the contributors, were key to that triumph.\u003c/p>\n\u003cp>With \"Manifest Destiny,\" Turchin triumphs in a different way. This is not jazz per se, nor is it really hip-hop, though it involves elements of both. It’s something of an impressionist amalgam, Turchin as composer, arranger, orchestrator, producer, playing keyboards, guitar, electronics and, of course, sax, supplemented by a small cast of other musicians. Martin makes a couple of appearances and vocalists Rose Gold, Kate Faust, Javier Starks and Brandon Ashe each get billing as “primary artist” on various songs.\u003c/p>\n\u003cp>\u003cimg class=\"alignnone size-medium wp-image-11428556\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover-800x800.jpeg\" alt=\"Adam Turchin_Manifest Destiny_Cover\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover-800x800.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover-160x160.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover.jpeg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover-240x240.jpeg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover-375x375.jpeg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover-520x520.jpeg 520w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover-32x32.jpeg 32w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover-50x50.jpeg 50w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover-64x64.jpeg 64w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover-96x96.jpeg 96w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover-128x128.jpeg 128w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/Adam-Turchin_Manifest-Destiny_Cover-150x150.jpeg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The titles give some hints to the story: “Gold Rush,” “My Mind is Moving So Crazy,” “Tell Me No Dreams; Sell Me No Schemes” and “Fruition” make up one sequence. “Destiny Is Just a Dream” wraps up the combination of gratitude and determination. And it’s no accident that there is repeated use of the terms \u003ci>dream\u003c/i> and \u003ci>destiny\u003c/i>.\u003c/p>\n\u003cp>Turchin, by the way, is not on Lamar’s new “Damn.” Lamar went with a more stripped-down hip-hop approach this time, and listening to “Manifest Destiny” you might get a little sense of what’s missing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Security Guards for S.F. Museums Say They're Being Denied Full-Time Work",
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"content": "\u003cp>Three San Francisco art museums -- the de Young, Legion of Honor and Asian Art Museum -- are facing criticism from their security guards, who say the museums’ executives are manipulating their schedules to avoid giving the guards full-time pay and benefits.\u003c/p>\n\u003cp>The guards and their representatives from the \u003ca href=\"http://www.seiu1021.org/\">Service Employees International Union Local 1021\u003c/a> (SEIU 1021) told the Government Audit and Oversight Committee of the San Francisco Board of Supervisors on Friday that the museums are intentionally giving security guards 35-hour workweeks rather than the typical 40-hour workweek that other city employees receive.\u003c/p>\n\u003cp>A spokeswoman for the \u003ca href=\"https://www.famsf.org/\">Fine Arts Museums of San Francisco, \u003c/a>which represents the de Young and Legion of Honor, said the matter is between the union and the city since the security guards are city employees. She also said the museum “absolutely refuses any allegations of misconduct.”\u003c/p>\n\u003cp>Although the city allocates money for the security guards, about half of the guards are paid by a private party, according to the SEIU 1021.\u003c/p>\n\u003cp>Theresa Rutherford, who represents the guards through SEIU’s Northern California chapter, says the problem stems from institutionalized racism.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“San Francisco prides itself on being at the forefront of the fight for justice and therefore must stop this injustice, which allows the museum guards to be treated differently,” Rutherford said. “They must be restored to 40 hours like everybody else who works for the city. They are not deserving of less, and they are equal.”\u003c/p>\n\u003cp>Alysabeth Alexander, vice president of politics for SEIU’s Local 1021, alluded to the 150th anniversary of the eight-hour workday on May 1, or May Day.\u003c/p>\n\u003cp>“Over 50 percent of our workers, because of their part-time situation, are forced to find second jobs or compete for overtime [pay] because they are not able to get the 40-hour workweek,” Alexander said. “So, they do not have the eight-hour day.”\u003c/p>\n\u003cp>The 35-hour workweek was agreed upon by the union and the city in 2012 so shifts would correspond with the number of hours the museum was open.\u003c/p>\n\u003cp>“It just seems kind of insane to ask that, just because the museum is only open for seven hours, why pay us for eight? I work in an industry that is 24/7,” said Timothy Sullivan, who has been a security guard for the Asian Art Museum for nearly 15 years.\u003c/p>\n\u003cp>The committee concluded by stating it would introduce a new hearing on Tuesday to begin resolving the matter and to discuss bargaining.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"I certainly agree with many of the points that SEIU 1021 brought up, and I would like to see the security guards move up to 40 hours a week,” Supervisor Jane Kim said.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Three San Francisco art museums -- the de Young, Legion of Honor and Asian Art Museum -- are facing criticism from their security guards, who say the museums’ executives are manipulating their schedules to avoid giving the guards full-time pay and benefits.\u003c/p>\n\u003cp>The guards and their representatives from the \u003ca href=\"http://www.seiu1021.org/\">Service Employees International Union Local 1021\u003c/a> (SEIU 1021) told the Government Audit and Oversight Committee of the San Francisco Board of Supervisors on Friday that the museums are intentionally giving security guards 35-hour workweeks rather than the typical 40-hour workweek that other city employees receive.\u003c/p>\n\u003cp>A spokeswoman for the \u003ca href=\"https://www.famsf.org/\">Fine Arts Museums of San Francisco, \u003c/a>which represents the de Young and Legion of Honor, said the matter is between the union and the city since the security guards are city employees. She also said the museum “absolutely refuses any allegations of misconduct.”\u003c/p>\n\u003cp>Although the city allocates money for the security guards, about half of the guards are paid by a private party, according to the SEIU 1021.\u003c/p>\n\u003cp>Theresa Rutherford, who represents the guards through SEIU’s Northern California chapter, says the problem stems from institutionalized racism.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“San Francisco prides itself on being at the forefront of the fight for justice and therefore must stop this injustice, which allows the museum guards to be treated differently,” Rutherford said. “They must be restored to 40 hours like everybody else who works for the city. They are not deserving of less, and they are equal.”\u003c/p>\n\u003cp>Alysabeth Alexander, vice president of politics for SEIU’s Local 1021, alluded to the 150th anniversary of the eight-hour workday on May 1, or May Day.\u003c/p>\n\u003cp>“Over 50 percent of our workers, because of their part-time situation, are forced to find second jobs or compete for overtime [pay] because they are not able to get the 40-hour workweek,” Alexander said. “So, they do not have the eight-hour day.”\u003c/p>\n\u003cp>The 35-hour workweek was agreed upon by the union and the city in 2012 so shifts would correspond with the number of hours the museum was open.\u003c/p>\n\u003cp>“It just seems kind of insane to ask that, just because the museum is only open for seven hours, why pay us for eight? I work in an industry that is 24/7,” said Timothy Sullivan, who has been a security guard for the Asian Art Museum for nearly 15 years.\u003c/p>\n\u003cp>The committee concluded by stating it would introduce a new hearing on Tuesday to begin resolving the matter and to discuss bargaining.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"I certainly agree with many of the points that SEIU 1021 brought up, and I would like to see the security guards move up to 40 hours a week,” Supervisor Jane Kim said.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "From Underdog to State Champs, Tiny High School Team Heads to Cooking Nationals",
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"headTitle": "California Foodways | The California Report | KQED News",
"content": "\u003cp>You might expect the winners of a California high school culinary competition to come from one of the state's restaurant destinations like Los Angeles, San Francisco or Sonoma County. But a month ago, the top prize went to tiny Greenville High School in Plumas County.\u003c/p>\n\u003cp>When the announcer called out, “Let’s hear it for Greenville!” the team of five walked onto the convention floor in Pomona looking like pros. Wearing chef coats, the students calmly navigated their 10-by-10 space -- and each other -- cooking their Italian-influenced meal on just two burners, and using only manual tools. No blenders allowed. They improvised when their pasta maker wouldn’t attach to the table and the burners ran hotter than the ones they'd practiced with.\u003c/p>\n\u003cp>At the awards ceremony, it was clear the judges liked what they saw and tasted. When Greenville’s name was called for the championship, the winners stumbled up to the stage, laughing and crying in disbelief.\u003c/p>\n\u003cfigure id=\"attachment_11431701\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11431701\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/RS25086_alt_579.jpg\" alt=\"Sidney-Lyn McIntosh and Tanner Meigs react to being named winner of the statewide championship.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25086_alt_579.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25086_alt_579-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25086_alt_579-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25086_alt_579-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25086_alt_579-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25086_alt_579-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25086_alt_579-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25086_alt_579-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25086_alt_579-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sidney-Lyn McIntosh and Tanner Meigs react to being named winner of the statewide championship. \u003ccite>(Colleen Heard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A few weeks later, after spring break, the students are back at school practicing in a makeshift space in the teachers' lounge. Two burners sit on top of stacked folding tables, approximating the competition layout.\u003c/p>\n\u003cp>They tell me about the dishes that led the California Restaurant Association Foundation to hand them the win, the ones they’re now finessing for the national championship this weekend in Charleston, South Carolina.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Tanner Meigs describes the appetizer he’s making.\u003c/p>\n\u003cp>“Authentic ravioli that has ricotta cheese on the inside with an arugula, sun-dried tomato and garlic filling. Then it’s coated with a brown butter sauce with shallot, sage, shitake mushroom and bacon,” he says.\u003c/p>\n\u003cp>He’s cooked most of his life -- frying up his first pork chop with his grandfather at age 7. Before joining the culinary team, though, Tanner says he had eaten ravioli only out of a can. Now he makes fresh pasta in seven minutes.\u003c/p>\n\u003cp>Chainy Carson is in charge of the entree, a fish dish. “It’s called all’acqua pazza, which translates roughly to ‘crazy water,’ fish in a broth,” with shrimp, calamari, crushed tomatoes and chili, he explains.\u003c/p>\n\u003cfigure id=\"attachment_11431640\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11431640\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/RS25085_IMG_4914-qut.jpg\" alt=\"The winning dishes from Greenville High: ravioli in a brown butter sauce with sage, bacon, and shitake mushrooms; All’Acqua Pazza (fish in broth); and a parfait with lemon curd, pickled berries, fennel and a cookie.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25085_IMG_4914-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25085_IMG_4914-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25085_IMG_4914-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25085_IMG_4914-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25085_IMG_4914-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25085_IMG_4914-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25085_IMG_4914-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25085_IMG_4914-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25085_IMG_4914-qut-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The winning dishes from Greenville High: ravioli in a brown butter sauce with sage, bacon and shitake mushrooms; All’Acqua Pazza (fish in broth); and a parfait with lemon curd, pickled berries, fennel and a cookie. \u003ccite>(Colleen Heard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Our dessert, the judge told us that we knocked it out of the park,” says Kelsey Heard who, along with Destiny Potts, is responsible for the parfait with lemon curd, pickled berries, fennel and a cookie. Sidney-Lyn McIntosh is the team manager, keeping the cooks on track.\u003c/p>\n\u003cp>Before the competition, the team met every day after school and on weekends, sometimes cooking their meal twice in a row to make sure they could complete all three dishes within the allotted hour, and throw their hands up before time ran out. Their expectations were modest.\u003c/p>\n\u003cp>“We kept telling ourselves: ‘Let’s be top 10,’ ” says Tanner.\u003c/p>\n\u003cp>They were prepared, not just for the hour of cooking but for less subjective categories like paperwork. Chainy, who will study biology at UC Santa Cruz in the fall, did most of the calculations.\u003c/p>\n\u003cp>\"For the menu pricing and ingredient cost. It took forever,\" he says. But they did really well on those criteria. “The power of math,” he says with a laugh.\u003c/p>\n\u003cp>The students say: it was obvious which teams at the state competition came from bigger -- or better-funded -- schools.\u003c/p>\n\u003cp>[contextly_sidebar id=\"kkJf69E4fwJgA70CgDyDQCGBt1zNrbPS\"]\u003c/p>\n\u003cp>“Other schools brought people to cheer them on,” Destiny tells me. “They had signs and they were all wearing the same shirts. We had three people watching us\" -- their teacher, their mentor chef and one mom, chaperoning the trip.\u003c/p>\n\u003cp>“There was this one team,” says Chainy, “their entree was lobster, and we used cheap fish!”\u003c/p>\n\u003cp>When I ask him the significance of that, he responds, “I think it says that in the culinary world, as a metaphor, it’s not the paint you use, it’s the way you use it.\" The team is using a more expensive product, Chilean sea bass, for nationals.\u003c/p>\n\u003cp>On the surface, this is an unlikely win. Only 1,200 people live in Greenville.\u003c/p>\n\u003cp>“It’s such a small town,” says Sidney. Destiny adds, “Everybody knows everything,” and Kelsey finishes her thought, “Like, about each other.”\u003c/p>\n\u003cp>Tanner explains, “You can’t get away with anything, but it’s good.” He says there aren’t a lot of places for teenagers to hang out, “but it’s full of mountains and green trees and it’s almost great.”\u003c/p>\n\u003cp>Greenville is an hour and a half drive up the Feather River Canyon from Chico, in a beautiful valley that used to be filled with lumber mills. Now, Tanner says, “It’s more older people, retirement people, because there’s not many jobs around here.\"\u003c/p>\n\u003cp>Sidney says, “My family, they still go over to the mill in Quincy or even Collins Pine in Chester.”\u003c/p>\n\u003cp>“Or work for the road department, or forest service,” adds Kelsey. “That’s where my family works.”\u003c/p>\n\u003cp>“And nursing,” says Destiny. “They just have to travel to do anything because our hospital’s closed.”\u003c/p>\n\u003cfigure id=\"attachment_11431642\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11431642\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/RS25089_IMG_6370-qut.jpg\" alt=\"Greenville’s an hour and a half drive up the Feather River Canyon from Chico, in a beautiful valley that used to be filled with lumber mills.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25089_IMG_6370-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25089_IMG_6370-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25089_IMG_6370-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25089_IMG_6370-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25089_IMG_6370-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25089_IMG_6370-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25089_IMG_6370-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25089_IMG_6370-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25089_IMG_6370-qut-520x390.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Greenville’s an hour and a half drive up the Feather River Canyon from Chico, in a beautiful valley that used to be filled with lumber mills. \u003ccite>(Lisa Morehouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Greenville High’s population has shrunk, too: there are only 11 students in the graduating class. So in a town this small, what’s the food scene like?\u003c/p>\n\u003cp>Kelsey tells me, “You eat a lot of your own livestock, cows and pigs and stuff.”\u003c/p>\n\u003cp>There are three restaurants: a pizza parlor and two cafes. “The waitress,” Tanner says, “you’ve probably known for years.”\u003c/p>\n\u003cp>The school -- with 75 students in grades 7-12 -- doesn't have a lot of resources. There’s been a culinary program here for decades, but teacher Judy Dolphin doesn’t have a big budget. To buy ingredients, she and her students hold breakfast fundraisers each Tuesday and cater events for local weddings, the fire department, Trout Unlimited, Friends of the NRA. She also buys flour and other bulk items at big stores two hours away. Like a lot of the adults in the school system, Dolphin multi-tasks: She also coaches cheerleading, and teaches the leadership, yearbook and computer classes.\u003c/p>\n\u003cp>Students wear many hats, too. Chainy started a Dungeons and Dragons club.\u003c/p>\n\u003cp>“It’s been running strong for a couple months now, and I’m pretty proud of it,” he says.\u003c/p>\n\u003cp>Tanner breeds goats and has one big love everyone knows about. “He’s a rodeo geek, a rodeo junkie,” they all say in unison.\u003c/p>\n\u003cp>The whole culinary team is in band, and four of the five play sports.\u003c/p>\n\u003cp>“In other schools you’re kind of separated,” says Destiny. “Like there’s the jocks and the band geeks. Everybody does everything here.”\u003c/p>\n\u003cp>With a school this small, they kind of have to. But the small population, the scant resources, the activities competing for their time -- maybe all of these factors actually led to Greenville’s win.\u003c/p>\n\u003cp>“We’re all set with the mind game of how to win. All five of us,\" Tanner explains.\u003c/p>\n\u003cp>Band solos, sports, student body, rodeo: Performance pressure is nothing new. Destiny adds that they’re practically family. “All of us have grown up with each other. I’ve known these people my entire life.”\u003c/p>\n\u003cp>And it shows when they cook. At practice, Chainy lets Tanner know his water’s boiling and ready for the pasta, then Tanner calls out “behind with hot pot” so no one gets scalded.\u003c/p>\n\u003cfigure id=\"attachment_11431641\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11431641\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/RS25087_IMG_6474-qut.jpg\" alt=\"Judy Dolphin has taught culinary classes at Greenville High for 20 years. She also coaches cheerleading, teaches Leadership, yearbook, and computer classes. Her teams have taken second place in state competitions twice, but this is the first year they’ve won.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25087_IMG_6474-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25087_IMG_6474-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25087_IMG_6474-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25087_IMG_6474-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25087_IMG_6474-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25087_IMG_6474-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25087_IMG_6474-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25087_IMG_6474-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25087_IMG_6474-qut-520x390.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Judy Dolphin has taught culinary classes at Greenville High for 20 years. She also coaches cheerleading, teaches Leadership, yearbook and computer classes. Her teams have taken second place in state competitions twice, but this is the first year they’ve won. \u003ccite>(Lisa Morehouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Their teacher Judy Dolphin and a mentor chef from a local college advise them, but the students must make final menu decisions. Dolphin says that over the seven years Greenville has competed statewide, the teams have cooked Asian dishes, Italian, even a hyperlocal menu a few years back.\u003c/p>\n\u003cp>“We smoked trout because we catch trout here, did watercress because we gather watercress, gather acorns.\" She explains, that year, the team had two Native American students, “so we based it off what we do with the land.”\u003c/p>\n\u003cp>Dolphin has had teams come in second place in the state championship twice before. She’s got high standards, and goes back and forth between gentle and more aggressive instruction while the students practice.\u003c/p>\n\u003cp>“I’m being a drill sergeant today,” she says.\u003c/p>\n\u003cp>The kids may roll their eyes a bit, but it’s clear: They’ve got a lot of love for their teacher.\u003c/p>\n\u003cp>“She’s a firecracker,” says Tanner. “She loves her job, she’s driven, and she knows how to teach us. She can be overwhelming, but it’s worth it in the long run. She’s the heart of this school.”\u003c/p>\n\u003cp>Sidney adds, “She does so much for the community and this school, you just want to give back. When we got called first [at the state championships], it made her the happiest person alive.”\u003c/p>\n\u003cp>“I’m just so proud,” Dolphin tells me, tearing up. “This is my hometown. This is where I grew up, and I love my community and the kids. It’s been a bumpy road, and it’s a journey, and this was the reward. It means a lot.”\u003c/p>\n\u003cp>After that statewide win, the whole town went nuts. The school even changed the date of its prom, originally scheduled for the same time as nationals in South Carolina. The students -- two of whom have never been on an airplane -- say they’re just excited to be somewhere new, to taste Southern cooking. Dolphin says she just wants it to be fun for them.\u003c/p>\n\u003cp>\"The experience of being clear across the United States, putting your feet in the Atlantic Ocean,\" she says.\u003c/p>\n\u003cp>She says that if they don’t place, it doesn’t matter.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I want them to learn from it, build their confidence, and put their hands up and say, ‘Done.’ On time,' ” she says, with a laugh.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You might expect the winners of a California high school culinary competition to come from one of the state's restaurant destinations like Los Angeles, San Francisco or Sonoma County. But a month ago, the top prize went to tiny Greenville High School in Plumas County.\u003c/p>\n\u003cp>When the announcer called out, “Let’s hear it for Greenville!” the team of five walked onto the convention floor in Pomona looking like pros. Wearing chef coats, the students calmly navigated their 10-by-10 space -- and each other -- cooking their Italian-influenced meal on just two burners, and using only manual tools. No blenders allowed. They improvised when their pasta maker wouldn’t attach to the table and the burners ran hotter than the ones they'd practiced with.\u003c/p>\n\u003cp>At the awards ceremony, it was clear the judges liked what they saw and tasted. When Greenville’s name was called for the championship, the winners stumbled up to the stage, laughing and crying in disbelief.\u003c/p>\n\u003cfigure id=\"attachment_11431701\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11431701\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/RS25086_alt_579.jpg\" alt=\"Sidney-Lyn McIntosh and Tanner Meigs react to being named winner of the statewide championship.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25086_alt_579.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25086_alt_579-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25086_alt_579-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25086_alt_579-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25086_alt_579-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25086_alt_579-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25086_alt_579-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25086_alt_579-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25086_alt_579-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Sidney-Lyn McIntosh and Tanner Meigs react to being named winner of the statewide championship. \u003ccite>(Colleen Heard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A few weeks later, after spring break, the students are back at school practicing in a makeshift space in the teachers' lounge. Two burners sit on top of stacked folding tables, approximating the competition layout.\u003c/p>\n\u003cp>They tell me about the dishes that led the California Restaurant Association Foundation to hand them the win, the ones they’re now finessing for the national championship this weekend in Charleston, South Carolina.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tanner Meigs describes the appetizer he’s making.\u003c/p>\n\u003cp>“Authentic ravioli that has ricotta cheese on the inside with an arugula, sun-dried tomato and garlic filling. Then it’s coated with a brown butter sauce with shallot, sage, shitake mushroom and bacon,” he says.\u003c/p>\n\u003cp>He’s cooked most of his life -- frying up his first pork chop with his grandfather at age 7. Before joining the culinary team, though, Tanner says he had eaten ravioli only out of a can. Now he makes fresh pasta in seven minutes.\u003c/p>\n\u003cp>Chainy Carson is in charge of the entree, a fish dish. “It’s called all’acqua pazza, which translates roughly to ‘crazy water,’ fish in a broth,” with shrimp, calamari, crushed tomatoes and chili, he explains.\u003c/p>\n\u003cfigure id=\"attachment_11431640\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11431640\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/RS25085_IMG_4914-qut.jpg\" alt=\"The winning dishes from Greenville High: ravioli in a brown butter sauce with sage, bacon, and shitake mushrooms; All’Acqua Pazza (fish in broth); and a parfait with lemon curd, pickled berries, fennel and a cookie.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25085_IMG_4914-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25085_IMG_4914-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25085_IMG_4914-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25085_IMG_4914-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25085_IMG_4914-qut-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25085_IMG_4914-qut-960x640.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25085_IMG_4914-qut-240x160.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25085_IMG_4914-qut-375x250.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25085_IMG_4914-qut-520x347.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The winning dishes from Greenville High: ravioli in a brown butter sauce with sage, bacon and shitake mushrooms; All’Acqua Pazza (fish in broth); and a parfait with lemon curd, pickled berries, fennel and a cookie. \u003ccite>(Colleen Heard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"Our dessert, the judge told us that we knocked it out of the park,” says Kelsey Heard who, along with Destiny Potts, is responsible for the parfait with lemon curd, pickled berries, fennel and a cookie. Sidney-Lyn McIntosh is the team manager, keeping the cooks on track.\u003c/p>\n\u003cp>Before the competition, the team met every day after school and on weekends, sometimes cooking their meal twice in a row to make sure they could complete all three dishes within the allotted hour, and throw their hands up before time ran out. Their expectations were modest.\u003c/p>\n\u003cp>“We kept telling ourselves: ‘Let’s be top 10,’ ” says Tanner.\u003c/p>\n\u003cp>They were prepared, not just for the hour of cooking but for less subjective categories like paperwork. Chainy, who will study biology at UC Santa Cruz in the fall, did most of the calculations.\u003c/p>\n\u003cp>\"For the menu pricing and ingredient cost. It took forever,\" he says. But they did really well on those criteria. “The power of math,” he says with a laugh.\u003c/p>\n\u003cp>The students say: it was obvious which teams at the state competition came from bigger -- or better-funded -- schools.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“Other schools brought people to cheer them on,” Destiny tells me. “They had signs and they were all wearing the same shirts. We had three people watching us\" -- their teacher, their mentor chef and one mom, chaperoning the trip.\u003c/p>\n\u003cp>“There was this one team,” says Chainy, “their entree was lobster, and we used cheap fish!”\u003c/p>\n\u003cp>When I ask him the significance of that, he responds, “I think it says that in the culinary world, as a metaphor, it’s not the paint you use, it’s the way you use it.\" The team is using a more expensive product, Chilean sea bass, for nationals.\u003c/p>\n\u003cp>On the surface, this is an unlikely win. Only 1,200 people live in Greenville.\u003c/p>\n\u003cp>“It’s such a small town,” says Sidney. Destiny adds, “Everybody knows everything,” and Kelsey finishes her thought, “Like, about each other.”\u003c/p>\n\u003cp>Tanner explains, “You can’t get away with anything, but it’s good.” He says there aren’t a lot of places for teenagers to hang out, “but it’s full of mountains and green trees and it’s almost great.”\u003c/p>\n\u003cp>Greenville is an hour and a half drive up the Feather River Canyon from Chico, in a beautiful valley that used to be filled with lumber mills. Now, Tanner says, “It’s more older people, retirement people, because there’s not many jobs around here.\"\u003c/p>\n\u003cp>Sidney says, “My family, they still go over to the mill in Quincy or even Collins Pine in Chester.”\u003c/p>\n\u003cp>“Or work for the road department, or forest service,” adds Kelsey. “That’s where my family works.”\u003c/p>\n\u003cp>“And nursing,” says Destiny. “They just have to travel to do anything because our hospital’s closed.”\u003c/p>\n\u003cfigure id=\"attachment_11431642\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11431642\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/RS25089_IMG_6370-qut.jpg\" alt=\"Greenville’s an hour and a half drive up the Feather River Canyon from Chico, in a beautiful valley that used to be filled with lumber mills.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25089_IMG_6370-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25089_IMG_6370-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25089_IMG_6370-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25089_IMG_6370-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25089_IMG_6370-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25089_IMG_6370-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25089_IMG_6370-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25089_IMG_6370-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25089_IMG_6370-qut-520x390.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Greenville’s an hour and a half drive up the Feather River Canyon from Chico, in a beautiful valley that used to be filled with lumber mills. \u003ccite>(Lisa Morehouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Greenville High’s population has shrunk, too: there are only 11 students in the graduating class. So in a town this small, what’s the food scene like?\u003c/p>\n\u003cp>Kelsey tells me, “You eat a lot of your own livestock, cows and pigs and stuff.”\u003c/p>\n\u003cp>There are three restaurants: a pizza parlor and two cafes. “The waitress,” Tanner says, “you’ve probably known for years.”\u003c/p>\n\u003cp>The school -- with 75 students in grades 7-12 -- doesn't have a lot of resources. There’s been a culinary program here for decades, but teacher Judy Dolphin doesn’t have a big budget. To buy ingredients, she and her students hold breakfast fundraisers each Tuesday and cater events for local weddings, the fire department, Trout Unlimited, Friends of the NRA. She also buys flour and other bulk items at big stores two hours away. Like a lot of the adults in the school system, Dolphin multi-tasks: She also coaches cheerleading, and teaches the leadership, yearbook and computer classes.\u003c/p>\n\u003cp>Students wear many hats, too. Chainy started a Dungeons and Dragons club.\u003c/p>\n\u003cp>“It’s been running strong for a couple months now, and I’m pretty proud of it,” he says.\u003c/p>\n\u003cp>Tanner breeds goats and has one big love everyone knows about. “He’s a rodeo geek, a rodeo junkie,” they all say in unison.\u003c/p>\n\u003cp>The whole culinary team is in band, and four of the five play sports.\u003c/p>\n\u003cp>“In other schools you’re kind of separated,” says Destiny. “Like there’s the jocks and the band geeks. Everybody does everything here.”\u003c/p>\n\u003cp>With a school this small, they kind of have to. But the small population, the scant resources, the activities competing for their time -- maybe all of these factors actually led to Greenville’s win.\u003c/p>\n\u003cp>“We’re all set with the mind game of how to win. All five of us,\" Tanner explains.\u003c/p>\n\u003cp>Band solos, sports, student body, rodeo: Performance pressure is nothing new. Destiny adds that they’re practically family. “All of us have grown up with each other. I’ve known these people my entire life.”\u003c/p>\n\u003cp>And it shows when they cook. At practice, Chainy lets Tanner know his water’s boiling and ready for the pasta, then Tanner calls out “behind with hot pot” so no one gets scalded.\u003c/p>\n\u003cfigure id=\"attachment_11431641\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11431641\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/04/RS25087_IMG_6474-qut.jpg\" alt=\"Judy Dolphin has taught culinary classes at Greenville High for 20 years. She also coaches cheerleading, teaches Leadership, yearbook, and computer classes. Her teams have taken second place in state competitions twice, but this is the first year they’ve won.\" width=\"1920\" height=\"1440\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25087_IMG_6474-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25087_IMG_6474-qut-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25087_IMG_6474-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25087_IMG_6474-qut-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25087_IMG_6474-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25087_IMG_6474-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25087_IMG_6474-qut-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25087_IMG_6474-qut-375x281.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/04/RS25087_IMG_6474-qut-520x390.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Judy Dolphin has taught culinary classes at Greenville High for 20 years. She also coaches cheerleading, teaches Leadership, yearbook and computer classes. Her teams have taken second place in state competitions twice, but this is the first year they’ve won. \u003ccite>(Lisa Morehouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Their teacher Judy Dolphin and a mentor chef from a local college advise them, but the students must make final menu decisions. Dolphin says that over the seven years Greenville has competed statewide, the teams have cooked Asian dishes, Italian, even a hyperlocal menu a few years back.\u003c/p>\n\u003cp>“We smoked trout because we catch trout here, did watercress because we gather watercress, gather acorns.\" She explains, that year, the team had two Native American students, “so we based it off what we do with the land.”\u003c/p>\n\u003cp>Dolphin has had teams come in second place in the state championship twice before. She’s got high standards, and goes back and forth between gentle and more aggressive instruction while the students practice.\u003c/p>\n\u003cp>“I’m being a drill sergeant today,” she says.\u003c/p>\n\u003cp>The kids may roll their eyes a bit, but it’s clear: They’ve got a lot of love for their teacher.\u003c/p>\n\u003cp>“She’s a firecracker,” says Tanner. “She loves her job, she’s driven, and she knows how to teach us. She can be overwhelming, but it’s worth it in the long run. She’s the heart of this school.”\u003c/p>\n\u003cp>Sidney adds, “She does so much for the community and this school, you just want to give back. When we got called first [at the state championships], it made her the happiest person alive.”\u003c/p>\n\u003cp>“I’m just so proud,” Dolphin tells me, tearing up. “This is my hometown. This is where I grew up, and I love my community and the kids. It’s been a bumpy road, and it’s a journey, and this was the reward. It means a lot.”\u003c/p>\n\u003cp>After that statewide win, the whole town went nuts. The school even changed the date of its prom, originally scheduled for the same time as nationals in South Carolina. The students -- two of whom have never been on an airplane -- say they’re just excited to be somewhere new, to taste Southern cooking. Dolphin says she just wants it to be fun for them.\u003c/p>\n\u003cp>\"The experience of being clear across the United States, putting your feet in the Atlantic Ocean,\" she says.\u003c/p>\n\u003cp>She says that if they don’t place, it doesn’t matter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I want them to learn from it, build their confidence, and put their hands up and say, ‘Done.’ On time,' ” she says, with a laugh.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Film Explores Friendship Across Race During the L.A. Riots",
"title": "Film Explores Friendship Across Race During the L.A. Riots",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Twenty-five years ago, \u003ca href=\"http://www.cnn.com/2013/09/18/us/los-angeles-riots-fast-facts/\" target=\"_blank\">riots\u003c/a> rocked Los Angeles after four white police officers were acquitted of using excessive force when arresting Rodney King, a black motorist. Footage of the assault captured by a bystander sparked outrage across the country.\u003c/p>\n\u003cp>Actor \u003ca href=\"http://www.imdb.com/name/nm2014390/\">Justin Chon\u003c/a> was living in Los Angeles and about to turn 11 years old when those riots broke out in 1992. His father, a Korean immigrant, owned a shoe store on the border of East Compton and Paramount that Chon says was looted on the last day of the riots.\u003c/p>\n\u003cp>\"There are those famous pictures of Korean shop owners on their roofs with shotguns, and my dad was one of those guys,\" Chon says.\u003c/p>\n\u003cp>After reading several film scripts about the riots that Chon felt didn't accurately portray the Korean-American experience, he decided to make his own.\u003c/p>\n\u003cp>\"I just felt if I didn't make a movie, having experienced the riots and also being personally affected, I would feel really guilty,\" he says.\u003c/p>\n\u003cfigure id=\"attachment_11353774\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11353774\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/Gook2-800x444.jpg\" alt=\"Justin Chon in a scene from his film, 'Gook.'\" width=\"800\" height=\"444\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-800x444.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-160x89.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-1020x566.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-1180x655.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-960x533.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-672x372.jpg 672w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-1038x576.jpg 1038w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-240x133.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-375x208.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-520x289.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Justin Chon in a scene from his film, 'Gook.' \u003ccite>(Courtesy of Birthday Soup Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chon wrote, directed and stars in \u003ca href=\"http://www.hollywoodreporter.com/review/gook-review-967115\" target=\"_blank\">\"Gook,\"\u003c/a> a film shot in stark black and white that won an audience award when it screened at the Sundance Film Festival in January. It also played to a sold-out crowd recently at \u003ca href=\"http://caamfest.com/2017/\">CAAMFest, \u003c/a>San Francisco's Asian American Film Festival.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Chon says giving the film a name that is often considered a racial slur toward Asian-Americans was a conscious act of reclamation.\u003c/p>\n\u003cp>\"Gook just means 'country' in Korea,\" he says. \"It's so weird how our word has been turned against us. When you actually know the definition of it, it just takes all the power away.\"\u003c/p>\n\u003cp>The film, which has been compared to Spike Lee's \u003ca href=\"http://www.imdb.com/title/tt0097216/\" target=\"_blank\">\"Do the Right Thing,\"\u003c/a> centers on the friendship between Chon's character, Eli -- a Korean shoe store owner -- his brother, and an 11-year-old black girl named Kamilla.\u003c/p>\n\u003cp>\u003cem>Gook \u003c/em>shows Eli and his brother facing attacks from their mostly African-American and Latino neighbors, but their relationship with Kamilla isn't tinged with the same racial animus.\u003c/p>\n\u003cp>\"She represents the bridge [between communities], innocence and what we lose sight of when we all don't communicate and fight with each other,\" Chon says of Kamilla. \"She's the most resilient one. She's the one that is always optimistic while everybody else thinks so negatively about everything.\"\u003c/p>\n\u003cfigure id=\"attachment_11353777\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11353777\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/Gook3-800x392.jpg\" alt=\"Simone Baker plays Kamilla in 'Gook.'\" width=\"800\" height=\"392\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3-800x392.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3-160x78.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3-1020x500.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3-1180x578.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3-960x471.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3-240x118.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3-375x184.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3-520x255.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Simone Baker plays Kamilla in 'Gook.' \u003ccite>(Courtesy of Birthday Soup Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chon said his team originally auditioned experienced child actors but felt they were \"too polished\" for the role they were envisioning.\u003c/p>\n\u003cp>\"That's when we started calling every single black church in the greater Los Angeles area and every community center,\" he says.\u003c/p>\n\u003cp>They eventually came to the Fernando Pullum Community Arts Center, where they found \u003ca href=\"http://www.imdb.com/name/nm7146497/\">Simone Baker,\u003c/a> who plays Kamilla.\u003c/p>\n\u003cp>\"When she came in, she just blew me away,\" he says.\u003c/p>\n\u003cp>Chon says he's proud to have built a film around a black female and Asian-American male character.\u003c/p>\n\u003cp>\"These two demographics are two of the most underrepresented ethnicities in media,\" he says. \"It was really important to me that this story was told through their eyes.\"\u003c/p>\n\u003cfigure id=\"attachment_11353779\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11353779\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/Gook4-800x378.jpg\" alt=\"A still from 'Gook.'\" width=\"800\" height=\"378\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4-800x378.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4-160x76.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4-1020x482.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4-1180x558.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4-960x454.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4-240x114.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4-375x177.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4-520x246.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from 'Gook.' \u003ccite>(Courtesy of Birthday Soup Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chon says the riots 25 years ago laid bare some real tensions that existed in Los Angeles between the black and Korean communities.\u003c/p>\n\u003cp>\"A lot of Korean businesses went into these neighborhoods and didn't assimilate,\" he says. \"We didn't try to become a part of the community. We just made a lot of money from those neighborhoods, and we didn't give back.\"\u003c/p>\n\u003cp>Chon hopes his film can provide a way for people to reflect on how race relations in the country have -- or haven't -- changed in the past 25 years.\u003c/p>\n\u003cp>\"There's more tolerance [today], but there also isn't,\" he says. \"Right now the country is very divided. It's a very eye-opening, unique time. That's why it's important to create art like this because we can talk about it.\"\u003c/p>\n\u003cp>He says that while race does play an important role in the film, the film speaks to audiences for a different reason.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"It's really just a story about friendship,\" he says. \"Anyone can relate to friendship.\"\u003c/p>\n\n",
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"excerpt": "L.A. filmmaker Justin Chon wrote, directed and stars in 'Gook,' a film about a an unlikely friendship during the Rodney King riots in 1992. It won an audience award at Sundance.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Twenty-five years ago, \u003ca href=\"http://www.cnn.com/2013/09/18/us/los-angeles-riots-fast-facts/\" target=\"_blank\">riots\u003c/a> rocked Los Angeles after four white police officers were acquitted of using excessive force when arresting Rodney King, a black motorist. Footage of the assault captured by a bystander sparked outrage across the country.\u003c/p>\n\u003cp>Actor \u003ca href=\"http://www.imdb.com/name/nm2014390/\">Justin Chon\u003c/a> was living in Los Angeles and about to turn 11 years old when those riots broke out in 1992. His father, a Korean immigrant, owned a shoe store on the border of East Compton and Paramount that Chon says was looted on the last day of the riots.\u003c/p>\n\u003cp>\"There are those famous pictures of Korean shop owners on their roofs with shotguns, and my dad was one of those guys,\" Chon says.\u003c/p>\n\u003cp>After reading several film scripts about the riots that Chon felt didn't accurately portray the Korean-American experience, he decided to make his own.\u003c/p>\n\u003cp>\"I just felt if I didn't make a movie, having experienced the riots and also being personally affected, I would feel really guilty,\" he says.\u003c/p>\n\u003cfigure id=\"attachment_11353774\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11353774\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/Gook2-800x444.jpg\" alt=\"Justin Chon in a scene from his film, 'Gook.'\" width=\"800\" height=\"444\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-800x444.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-160x89.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-1020x566.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-1180x655.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-960x533.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-672x372.jpg 672w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-1038x576.jpg 1038w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-240x133.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-375x208.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook2-520x289.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Justin Chon in a scene from his film, 'Gook.' \u003ccite>(Courtesy of Birthday Soup Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chon wrote, directed and stars in \u003ca href=\"http://www.hollywoodreporter.com/review/gook-review-967115\" target=\"_blank\">\"Gook,\"\u003c/a> a film shot in stark black and white that won an audience award when it screened at the Sundance Film Festival in January. It also played to a sold-out crowd recently at \u003ca href=\"http://caamfest.com/2017/\">CAAMFest, \u003c/a>San Francisco's Asian American Film Festival.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Chon says giving the film a name that is often considered a racial slur toward Asian-Americans was a conscious act of reclamation.\u003c/p>\n\u003cp>\"Gook just means 'country' in Korea,\" he says. \"It's so weird how our word has been turned against us. When you actually know the definition of it, it just takes all the power away.\"\u003c/p>\n\u003cp>The film, which has been compared to Spike Lee's \u003ca href=\"http://www.imdb.com/title/tt0097216/\" target=\"_blank\">\"Do the Right Thing,\"\u003c/a> centers on the friendship between Chon's character, Eli -- a Korean shoe store owner -- his brother, and an 11-year-old black girl named Kamilla.\u003c/p>\n\u003cp>\u003cem>Gook \u003c/em>shows Eli and his brother facing attacks from their mostly African-American and Latino neighbors, but their relationship with Kamilla isn't tinged with the same racial animus.\u003c/p>\n\u003cp>\"She represents the bridge [between communities], innocence and what we lose sight of when we all don't communicate and fight with each other,\" Chon says of Kamilla. \"She's the most resilient one. She's the one that is always optimistic while everybody else thinks so negatively about everything.\"\u003c/p>\n\u003cfigure id=\"attachment_11353777\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11353777\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/Gook3-800x392.jpg\" alt=\"Simone Baker plays Kamilla in 'Gook.'\" width=\"800\" height=\"392\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3-800x392.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3-160x78.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3-1020x500.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3-1180x578.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3-960x471.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3-240x118.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3-375x184.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook3-520x255.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Simone Baker plays Kamilla in 'Gook.' \u003ccite>(Courtesy of Birthday Soup Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chon said his team originally auditioned experienced child actors but felt they were \"too polished\" for the role they were envisioning.\u003c/p>\n\u003cp>\"That's when we started calling every single black church in the greater Los Angeles area and every community center,\" he says.\u003c/p>\n\u003cp>They eventually came to the Fernando Pullum Community Arts Center, where they found \u003ca href=\"http://www.imdb.com/name/nm7146497/\">Simone Baker,\u003c/a> who plays Kamilla.\u003c/p>\n\u003cp>\"When she came in, she just blew me away,\" he says.\u003c/p>\n\u003cp>Chon says he's proud to have built a film around a black female and Asian-American male character.\u003c/p>\n\u003cp>\"These two demographics are two of the most underrepresented ethnicities in media,\" he says. \"It was really important to me that this story was told through their eyes.\"\u003c/p>\n\u003cfigure id=\"attachment_11353779\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11353779\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2017/03/Gook4-800x378.jpg\" alt=\"A still from 'Gook.'\" width=\"800\" height=\"378\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4-800x378.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4-160x76.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4-1020x482.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4-1180x558.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4-960x454.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4-240x114.jpg 240w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4-375x177.jpg 375w, https://ww2.kqed.org/app/uploads/sites/10/2017/03/Gook4-520x246.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from 'Gook.' \u003ccite>(Courtesy of Birthday Soup Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chon says the riots 25 years ago laid bare some real tensions that existed in Los Angeles between the black and Korean communities.\u003c/p>\n\u003cp>\"A lot of Korean businesses went into these neighborhoods and didn't assimilate,\" he says. \"We didn't try to become a part of the community. We just made a lot of money from those neighborhoods, and we didn't give back.\"\u003c/p>\n\u003cp>Chon hopes his film can provide a way for people to reflect on how race relations in the country have -- or haven't -- changed in the past 25 years.\u003c/p>\n\u003cp>\"There's more tolerance [today], but there also isn't,\" he says. \"Right now the country is very divided. It's a very eye-opening, unique time. That's why it's important to create art like this because we can talk about it.\"\u003c/p>\n\u003cp>He says that while race does play an important role in the film, the film speaks to audiences for a different reason.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"It's really just a story about friendship,\" he says. \"Anyone can relate to friendship.\"\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": "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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"marketplace": {
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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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"masters-of-scale": {
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},
"mindshift": {
"id": "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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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"order": 11
},
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
"id": "perspectives",
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"order": 14
},
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"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.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
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