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"disqusTitle": "Rediscovering L.A. Through Old Restaurant Menus",
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"content": "\u003cp>Los Angeles has a rich culinary history, due to the waves of immigrants who settled in Southern California and brought their food traditions with them. The restaurants they opened can tell us a lot about how people use food to shape their own identities of community, culture and class. A new book and exhibit of old LA restaurant menus reveals how the city has evolved, through food.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/219661319\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>The Library Foundation of Los Angeles is presenting the exhibit, called “\u003ca href=\"http://toliveanddinela.com/\">To Live and Dine in L.A.: Menus and the Making of the Modern City\u003c/a>,” in the Getty Gallery at the Los Angeles Central Library until Nov. 13. There’s also a new coffee table book of the same name. It’s written by \u003ca href=\"http://annenberg.usc.edu/faculty/communication-journalism/josh-kun\">Josh Kun\u003c/a>, an associate professor at the University of Southern California.\u003c/p>\n\u003cp>“So much of what we try to do in the book is use restaurants as a way to think about the kind of layered histories of Los Angeles,\" Kun says, \"what’s been built over constantly, whose stories have been erased to build new stories on top of those, how every single space that we enter bears the traces of all the spaces that came before it.\"\u003c/p>\n\u003cfigure id=\"attachment_10643254\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED.jpg\">\u003cimg class=\"size-full wp-image-10643254\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED.jpg\" alt=\"Menu cover from the Golden Pagoda restaurant.\" width=\"1920\" height=\"3015\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED-400x628.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED-800x1256.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED-1440x2261.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED-1180x1853.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED-960x1508.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Menu cover from the Golden Pagoda restaurant. \u003ccite>(The Library Foundation of Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10643259\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED.jpg\">\u003cimg class=\"wp-image-10643259 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED.jpg\" alt=\"RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED\" width=\"1920\" height=\"1512\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED-400x315.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED-800x630.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED-1440x1134.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED-1180x929.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED-960x756.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Autographs fill the Golden Pagoda menu. \u003ccite>(The Library Foundation of Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Evan Kleiman, a chef and the host of KCRW’s weekly radio show \u003ca href=\"http://www.kcrw.com/news-culture/shows/good-food\">Good Food\u003c/a>, remembers one such restaurant from her childhood.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It was called \u003ca href=\"http://www.ebay.com/itm/Matchbook-Cover-Casa-De-Ibarra-Los-Angeles-CA-Mexican-Food/400970592084?_trksid=p2047675.c100011.m1850&_trkparms=aid%3D222007%26algo%3DSIC.MBE%26ao%3D1%26asc%3D29981%26meid%3D0c126acd1eb4490aa684a12653694f2a%26pid%3D100011%26rk%3D2%26rkt%3D10%26sd%3D121690843142\">Casa de Ibarra\u003c/a>,\" she recalls. \"And it was the place where I learned how to tuck my leftover food into a flour tortilla and roll it up. One of the waiters there taught me.\"\u003c/p>\n\u003cp>Now it’s a hipster taqueria called \u003ca href=\"http://www.diablotaco.com/\">Diablo Urban Taco Fabricator\u003c/a>.\u003c/p>\n\u003cp>“And before that, when I was a teenager, it was a place called Temple of the Rainbow, where I learned how to make carrot smoothies and bake bread that weighed 20 pounds per loaf,” Kleiman says.\u003c/p>\n\u003cp>Photos from the library’s archives of old LA restaurants line the walls of the exhibit. The photos include fancy French restaurants and taco trucks, and such establishments as Forbidden Palace Chinese Food, Daddy Grants Old Time Pit Barbecue, and Don the Beachcomber’s tiki bar.\u003c/p>\n\u003cp>The menus are a feast for the eyes. There are about 50 of them housed in glass display cases, and about 200 in the book. They have old-timey letterpress fonts, vintage illustrations, and list offerings like avocado filled with fresh seafood and Thousand Island dressing. They were pulled from the LA Public Library’s collection of 12,000 menus.\u003c/p>\n\u003cp>“Menus tell a story of a city,\" says John Szabo, the city librarian of the Los Angeles Public Library. \"And to know LA, you need to know food in LA, and you need to know about dining in LA, and that’s one of the things that our menu collection does.\"\u003c/p>\n\u003cp>At the outset, Kun reached out to chefs to collaborate on the project, including \u003ca href=\"http://kogibbq.com/\">Kogi\u003c/a> founder Roy Choi. The exhibit includes video screens playing interviews with some of those chefs, including Bricia Lopez of Guelaguetza, and Cynthia Hawkins, owner of Hawkins House of Burgers in Watts.\u003c/p>\n\u003cp>“There’s not that many places you can eat really good quality food in Watts. I’m just being honest with you,” Hawkins \u003ca href=\"https://vimeo.com/130594078\">says in the video\u003c/a>. “Maybe a good restaurant would come here, but it’s really sad to say that there’s not that many places in Watts that people can eat really good, quality food, and that’s so sad.”\u003c/p>\n\u003cp>That’s one of the themes of the project: food inequality. Los Angeles County has more people who lack access to healthy food than \u003ca href=\"http://www.publichealth.lacounty.gov/ha/reports/LAHealthBrief2011/FoodInsecurity/Food_Insecurity_2015Fs.pdf\">any other county\u003c/a> in the U.S. And as rising rent prices push immigrant families out of some neighborhoods, Kun says new restaurants mark those changes.\u003c/p>\n\u003cp>“If a restaurant can open up in a working class neighborhood with $25 appetizers and survive, what does that mean?\" Kun asks. \"It sends a message that, like, hey, it’s OK, come on in, water’s warm, and opens the floodgates in a lot of ways.”\u003c/p>\n\u003cp>Take Grand Central Market in downtown LA. It’s a food court where \u003ca href=\"http://www.laweekly.com/restaurants/at-grand-central-market-a-new-wave-of-vendors-is-changing-up-an-la-mainstay-5016013\">a lot of upscale places\u003c/a> are opening up, including a juice bar, an oyster bar and a fancy cheese shop.\u003c/p>\n\u003cp>“You know, I don’t really like to call it gentrified because I don’t think that’s what it is. It’s not coming to a neighborhood that didn’t have this kind of history,” says Micah Wexler, owner of Wexler’s Deli. “Downtown was at one time a very vibrant, celebrated place, and we’re trying to bring it back to that.”\u003c/p>\n\u003cfigure id=\"attachment_10643427\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1.jpg\">\u003cimg class=\"size-full wp-image-10643427\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1.jpg\" alt=\"Menu cover from the Brown Derby restaurant.\" width=\"1920\" height=\"2504\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1-400x522.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1-800x1043.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1-1440x1878.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1-1180x1539.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1-960x1252.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Menu cover from the Brown Derby restaurant. \u003ccite>(The Library Foundation of Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10643429\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED.jpg\">\u003cimg class=\"size-full wp-image-10643429\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED.jpg\" alt=\"A Brown Derby menu from September 1953.\" width=\"1920\" height=\"1230\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED-400x256.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED-800x513.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED-1440x923.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED-1180x756.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED-960x615.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A Brown Derby menu from September 1953. \u003ccite>(The Library Foundation of Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the book, Kun invited chefs to “remix” old menus and give them a modern spin. Wexler chose the menu for a 1931 banquet to honor Albert Einstein at the Ambassador Hotel, featuring an item called “Chicken Saute Ambassador.” Wexler had to research how such a dish would have been prepared. Turns out, it was served in a white wine cream sauce.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the exhibit there’s also a pile of blank menus on which visitors can describe their version of Los Angeles in a meal. Kun says he knew that given the scope of this project, it would be impossible to represent every story in the history of food in LA. These crowd-sourced menus are his effort to let people of all backgrounds leave their own mark on this story. And it shows that the food of LA continues to evolve, just like the city itself.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Los Angeles has a rich culinary history, due to the waves of immigrants who settled in Southern California and brought their food traditions with them. The restaurants they opened can tell us a lot about how people use food to shape their own identities of community, culture and class. A new book and exhibit of old LA restaurant menus reveals how the city has evolved, through food.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/219661319&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/219661319'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The Library Foundation of Los Angeles is presenting the exhibit, called “\u003ca href=\"http://toliveanddinela.com/\">To Live and Dine in L.A.: Menus and the Making of the Modern City\u003c/a>,” in the Getty Gallery at the Los Angeles Central Library until Nov. 13. There’s also a new coffee table book of the same name. It’s written by \u003ca href=\"http://annenberg.usc.edu/faculty/communication-journalism/josh-kun\">Josh Kun\u003c/a>, an associate professor at the University of Southern California.\u003c/p>\n\u003cp>“So much of what we try to do in the book is use restaurants as a way to think about the kind of layered histories of Los Angeles,\" Kun says, \"what’s been built over constantly, whose stories have been erased to build new stories on top of those, how every single space that we enter bears the traces of all the spaces that came before it.\"\u003c/p>\n\u003cfigure id=\"attachment_10643254\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED.jpg\">\u003cimg class=\"size-full wp-image-10643254\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED.jpg\" alt=\"Menu cover from the Golden Pagoda restaurant.\" width=\"1920\" height=\"3015\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED-400x628.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED-800x1256.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED-1440x2261.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED-1180x1853.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16358_GoldenPagoda_MenuFront-LDLApg159-qut-1_RESIZED-960x1508.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Menu cover from the Golden Pagoda restaurant. \u003ccite>(The Library Foundation of Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10643259\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED.jpg\">\u003cimg class=\"wp-image-10643259 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED.jpg\" alt=\"RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED\" width=\"1920\" height=\"1512\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED-400x315.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED-800x630.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED-1440x1134.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED-1180x929.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16356_GoldenPagoda_MenuInteriorAutographs-LDLA-qut_RESIZED-960x756.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Autographs fill the Golden Pagoda menu. \u003ccite>(The Library Foundation of Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Evan Kleiman, a chef and the host of KCRW’s weekly radio show \u003ca href=\"http://www.kcrw.com/news-culture/shows/good-food\">Good Food\u003c/a>, remembers one such restaurant from her childhood.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It was called \u003ca href=\"http://www.ebay.com/itm/Matchbook-Cover-Casa-De-Ibarra-Los-Angeles-CA-Mexican-Food/400970592084?_trksid=p2047675.c100011.m1850&_trkparms=aid%3D222007%26algo%3DSIC.MBE%26ao%3D1%26asc%3D29981%26meid%3D0c126acd1eb4490aa684a12653694f2a%26pid%3D100011%26rk%3D2%26rkt%3D10%26sd%3D121690843142\">Casa de Ibarra\u003c/a>,\" she recalls. \"And it was the place where I learned how to tuck my leftover food into a flour tortilla and roll it up. One of the waiters there taught me.\"\u003c/p>\n\u003cp>Now it’s a hipster taqueria called \u003ca href=\"http://www.diablotaco.com/\">Diablo Urban Taco Fabricator\u003c/a>.\u003c/p>\n\u003cp>“And before that, when I was a teenager, it was a place called Temple of the Rainbow, where I learned how to make carrot smoothies and bake bread that weighed 20 pounds per loaf,” Kleiman says.\u003c/p>\n\u003cp>Photos from the library’s archives of old LA restaurants line the walls of the exhibit. The photos include fancy French restaurants and taco trucks, and such establishments as Forbidden Palace Chinese Food, Daddy Grants Old Time Pit Barbecue, and Don the Beachcomber’s tiki bar.\u003c/p>\n\u003cp>The menus are a feast for the eyes. There are about 50 of them housed in glass display cases, and about 200 in the book. They have old-timey letterpress fonts, vintage illustrations, and list offerings like avocado filled with fresh seafood and Thousand Island dressing. They were pulled from the LA Public Library’s collection of 12,000 menus.\u003c/p>\n\u003cp>“Menus tell a story of a city,\" says John Szabo, the city librarian of the Los Angeles Public Library. \"And to know LA, you need to know food in LA, and you need to know about dining in LA, and that’s one of the things that our menu collection does.\"\u003c/p>\n\u003cp>At the outset, Kun reached out to chefs to collaborate on the project, including \u003ca href=\"http://kogibbq.com/\">Kogi\u003c/a> founder Roy Choi. The exhibit includes video screens playing interviews with some of those chefs, including Bricia Lopez of Guelaguetza, and Cynthia Hawkins, owner of Hawkins House of Burgers in Watts.\u003c/p>\n\u003cp>“There’s not that many places you can eat really good quality food in Watts. I’m just being honest with you,” Hawkins \u003ca href=\"https://vimeo.com/130594078\">says in the video\u003c/a>. “Maybe a good restaurant would come here, but it’s really sad to say that there’s not that many places in Watts that people can eat really good, quality food, and that’s so sad.”\u003c/p>\n\u003cp>That’s one of the themes of the project: food inequality. Los Angeles County has more people who lack access to healthy food than \u003ca href=\"http://www.publichealth.lacounty.gov/ha/reports/LAHealthBrief2011/FoodInsecurity/Food_Insecurity_2015Fs.pdf\">any other county\u003c/a> in the U.S. And as rising rent prices push immigrant families out of some neighborhoods, Kun says new restaurants mark those changes.\u003c/p>\n\u003cp>“If a restaurant can open up in a working class neighborhood with $25 appetizers and survive, what does that mean?\" Kun asks. \"It sends a message that, like, hey, it’s OK, come on in, water’s warm, and opens the floodgates in a lot of ways.”\u003c/p>\n\u003cp>Take Grand Central Market in downtown LA. It’s a food court where \u003ca href=\"http://www.laweekly.com/restaurants/at-grand-central-market-a-new-wave-of-vendors-is-changing-up-an-la-mainstay-5016013\">a lot of upscale places\u003c/a> are opening up, including a juice bar, an oyster bar and a fancy cheese shop.\u003c/p>\n\u003cp>“You know, I don’t really like to call it gentrified because I don’t think that’s what it is. It’s not coming to a neighborhood that didn’t have this kind of history,” says Micah Wexler, owner of Wexler’s Deli. “Downtown was at one time a very vibrant, celebrated place, and we’re trying to bring it back to that.”\u003c/p>\n\u003cfigure id=\"attachment_10643427\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1.jpg\">\u003cimg class=\"size-full wp-image-10643427\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1.jpg\" alt=\"Menu cover from the Brown Derby restaurant.\" width=\"1920\" height=\"2504\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1-400x522.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1-800x1043.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1-1440x1878.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1-1180x1539.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16359_BrownDerby_LuncheonMenu-LDLApg068-qut_RESIZED1-960x1252.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Menu cover from the Brown Derby restaurant. \u003ccite>(The Library Foundation of Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10643429\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED.jpg\">\u003cimg class=\"size-full wp-image-10643429\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED.jpg\" alt=\"A Brown Derby menu from September 1953.\" width=\"1920\" height=\"1230\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED-400x256.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED-800x513.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED-1440x923.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED-1180x756.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/RS16360_BrownDerby_17Sep1953-LDLApg021-qut_RESIZED-960x615.jpg 960w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A Brown Derby menu from September 1953. \u003ccite>(The Library Foundation of Los Angeles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the book, Kun invited chefs to “remix” old menus and give them a modern spin. Wexler chose the menu for a 1931 banquet to honor Albert Einstein at the Ambassador Hotel, featuring an item called “Chicken Saute Ambassador.” Wexler had to research how such a dish would have been prepared. Turns out, it was served in a white wine cream sauce.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the exhibit there’s also a pile of blank menus on which visitors can describe their version of Los Angeles in a meal. Kun says he knew that given the scope of this project, it would be impossible to represent every story in the history of food in LA. These crowd-sourced menus are his effort to let people of all backgrounds leave their own mark on this story. And it shows that the food of LA continues to evolve, just like the city itself.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Reflection, Celebration Mark 50th Anniversary of Watts Unrest",
"title": "Reflection, Celebration Mark 50th Anniversary of Watts Unrest",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>On August 11, 1965, in South Los Angeles, the neighborhood of Watts exploded into \u003ca href=\"https://www.youtube.com/watch?v=7JqhfZV-cms\" target=\"_blank\">six days of rioting\u003c/a> fueled by years of police misconduct, diminishing economic opportunity and flat-out racism.\u003c/p>\n\u003cp>By the end, 34 people were dead and dozens of blocks of the community burned to the ground.\u003c/p>\n\u003cp>This year's 50th anniversary of the revolt, as many locals prefer to call it, was marked with a solemn remembrance and a joyful celebration at the annual \u003ca href=\"https://www.facebook.com/WattsSummerFestival\" target=\"_blank\">Watts Summer Festival\u003c/a>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/218765683&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>The event arose from the destruction of 1965 and kicked off the following year with the hope of channeling the community's anger into music, the arts and activism.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ted Watkins Memorial Park had its own role during those tumultuous days in the summer of ’65.\u003c/p>\n\u003cp>“I was here, I was 5-years-old when it happened,” says Dee Dee Pitcher Henderson. She grew up and still lives across from the park on 103rd Street.\u003c/p>\n\u003cp>“This park you’re standing in right now was the base for the National Guard, and we couldn’t come out after a certain time because we had a curfew,” she says.\u003c/p>\n\u003cp>Before the riots, 103rd Street was a vibrant commercial hub. Henderson’s mother had a shop there.\u003c/p>\n\u003cp>“So her store was the only one that didn’t get burned,\" she recalls. \"My dad got shot in the riots. There used to be a grocery store that sits on the corner. And I remember that store exploding while we were standing in the front yard.”\u003c/p>\n\u003cp>It’s been a struggle to keep the annual festival going, Henderson says.\u003c/p>\n\u003cp>While the park could easily accommodate several thousand people, only a few hundred mill around on a picture postcard sunny Southern California afternoon.\u003c/p>\n\u003cp>It’s also an older crowd, filled with people who share vivid memories of '65.\u003c/p>\n\u003cfigure id=\"attachment_10638058\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/WATTS-FEST-WATERS-DANCE.jpg\">\u003cimg class=\"size-medium wp-image-10638058\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/WATTS-FEST-WATERS-DANCE-800x511.jpg\" alt=\"Congresswoman Maxine Waters was among the celebrants at Saturday's 49th Watts Summer Festival. Waters represents the Watts area. \" width=\"800\" height=\"511\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-WATERS-DANCE-800x511.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-WATERS-DANCE-400x256.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-WATERS-DANCE-1440x920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-WATERS-DANCE.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-WATERS-DANCE-1180x754.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-WATERS-DANCE-960x614.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Congresswoman Maxine Waters was among the celebrants at Saturday's 49th Watts Summer Festival. Waters represents the Watts area. \u003ccite>(Steven Cuevas / KPCC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Hell, I got arrested,” Amen Rahh tells the crowd from the festival stage.\u003c/p>\n\u003cp>“You understand, I was a political prisoner in juvenile hall for 45 days,” says Rahh, a retired black studies professor.\u003c/p>\n\u003cp>Rahh also grew up in Watts and as a young man took part in what he prefers to call the rebellion.\u003c/p>\n\u003cp>I ask Rahh how he would he advise his much younger self if he could go back in time. Would he try to persuade that kid to stay inside, to pull his friends away from the violence?\u003c/p>\n\u003cp>“I’d do the same thing,\" he answers.\u003c/p>\n\u003cp>“It had to be done to develop a better-respecting relationship with law enforcement. It just didn’t go far enough to the total criminal justice system,” says Rahh, referring to both past and very recent high-profile police-involved shootings.\u003c/p>\n\u003cp>Rahh says while the destruction and loss of life 50 years ago was regrettable, it also inspired activism that led to the creation of a community hospital, youth centers, health clinics and more.\u003c/p>\n\u003cp>“And there was a love and respect for each other after the rebellion,” says Rahh.\u003c/p>\n\u003cp>Then he adds, “But you got to understand, the Watts that used to be has changed and it’s mostly an immigrant city now.”\u003c/p>\n\u003cp>Many black residents moved out after the riots. Thousands more left in the following decades as gang violence surged and crack cocaine flooded neighborhoods. Affordable housing was built north of L.A. in the Antelope Valley and east in the blue-collar suburbs of the Inland Empire.\u003c/p>\n\u003cp>Over the decades, there has been some change for the better in Watts.\u003c/p>\n\u003cp>Just 10 years ago, in 2005, there were 20 murders in Watts. There have been none so far this year. Police foot patrols have increased in troubled parts of the community.\u003c/p>\n\u003cp>Funding for public projects continues to be plowed into the community, including a new children’s center designed by famed architect Frank Gehry.\u003c/p>\n\u003cp>But Dee Dee Pitcher Henderson says the economy has never fully rebounded. There are few retail businesses and just one independently owned non fast-food restaurant.\u003c/p>\n\u003cp>“If you want to go shopping you got to go outside the area,” says Henderson. “Everywhere around Watts has been built up, Huntington Park, Lynwood, Compton, everywhere has built up around us and we’re still kind of like stagnated.”\u003c/p>\n\u003cp>And other problems also persist: gang violence, high unemployment and a quiet tension between many black and newer Latino residents.\u003c/p>\n\u003cp>Enter \u003ca href=\"http://www.thedangerman.com/\">Dangerman\u003c/a>.\u003c/p>\n\u003cp>“A real-life urban superhero,” says the man who calls himself Dangerman.\u003c/p>\n\u003cp>Dressed head to toe in a sky blue superhero outfit and matching face mask, actor-comedian Roger Tinsley created Dangerman about 20 years ago to promote literacy, safety and good nutrition among youth in low-income minority neighborhoods.\u003c/p>\n\u003cp>“I’m much busier than ever because now we have kids every day dying,” says Tinsley.\u003c/p>\n\u003cp>“We talk about Black Lives Matter. Well, not only do black lives matter when police are involved but black lives matter in our cities every day,” says Tinsley. “It’s a struggle every day for our young people in this country”\u003c/p>\n\u003cp>Near a playground at the edge of the festival a group of kids gather around a charismatic young poet named \u003ca href=\"http://www.yngrobb.webs.com/\">Robert Williams\u003c/a>. He was born a good 25 years after the Watts riots.\u003c/p>\n\u003cp>While he understands the circumstances that sparked the unrest 50 years ago, he has a tough time making sense of the violence.\u003c/p>\n\u003cfigure id=\"attachment_10638063\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/watts-fest-young-robb-2.jpg\">\u003cimg class=\"size-medium wp-image-10638063\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/watts-fest-young-robb-2-800x560.jpg\" alt=\"Compton poet Robert Williams aka Young Robb unleashes some of his socially conscious rhymes for some kids at the Watts Summer Festival\" width=\"800\" height=\"560\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/watts-fest-young-robb-2-800x560.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/watts-fest-young-robb-2-400x280.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/watts-fest-young-robb-2-1440x1007.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/watts-fest-young-robb-2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/watts-fest-young-robb-2-1180x825.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/watts-fest-young-robb-2-960x672.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Compton poet Robert Williams aka Young Robb unleashes some of his socially conscious rhymes for some kids at the Watts Summer Festival \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Don’t burn down your own community. If you love your community then clean it up, stand up for it,” says Williams.\u003c/p>\n\u003cp>“Hopefully the generation has changed where a lot of people can understand to take care instead of destroy. Let’s stick together and create something, let’s not just get together and destroy,” says Williams.\u003c/p>\n\u003cp>On the festival stage, \u003ca href=\"http://www.expressyourself.net/\">Charles Wright\u003c/a> and the Watts 103rd Street Rhythm Band tear through songs that made them local legends back in the mid-1960s.\u003c/p>\n\u003cp>Wright jumps into the crowd for a sing-along on one of his biggest hits (later sampled by South L.A. rappers N.W.A) “Express Yourself.”\u003c/p>\n\u003cfigure id=\"attachment_10638067\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/WATTS-FEST-Wright-2.jpg\">\u003cimg class=\"size-medium wp-image-10638067\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/WATTS-FEST-Wright-2-800x533.jpg\" alt=\"Los Angeles R&B legend Charles Wright performing at the annual Watts Summer Festival\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-Wright-2-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-Wright-2-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-Wright-2-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-Wright-2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-Wright-2-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-Wright-2-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Los Angeles R&B legend Charles Wright performing at the annual Watts Summer Festival \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s a celebratory moment on an otherwise grim anniversary. One that 50 years on reminds people how much has been accomplished -- and how much more remains to be done.\u003c/p>\n\n",
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"excerpt": "A music festival reflects the continuing hopes and struggles of a community once torn by violent upheaval.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On August 11, 1965, in South Los Angeles, the neighborhood of Watts exploded into \u003ca href=\"https://www.youtube.com/watch?v=7JqhfZV-cms\" target=\"_blank\">six days of rioting\u003c/a> fueled by years of police misconduct, diminishing economic opportunity and flat-out racism.\u003c/p>\n\u003cp>By the end, 34 people were dead and dozens of blocks of the community burned to the ground.\u003c/p>\n\u003cp>This year's 50th anniversary of the revolt, as many locals prefer to call it, was marked with a solemn remembrance and a joyful celebration at the annual \u003ca href=\"https://www.facebook.com/WattsSummerFestival\" target=\"_blank\">Watts Summer Festival\u003c/a>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/218765683&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>The event arose from the destruction of 1965 and kicked off the following year with the hope of channeling the community's anger into music, the arts and activism.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ted Watkins Memorial Park had its own role during those tumultuous days in the summer of ’65.\u003c/p>\n\u003cp>“I was here, I was 5-years-old when it happened,” says Dee Dee Pitcher Henderson. She grew up and still lives across from the park on 103rd Street.\u003c/p>\n\u003cp>“This park you’re standing in right now was the base for the National Guard, and we couldn’t come out after a certain time because we had a curfew,” she says.\u003c/p>\n\u003cp>Before the riots, 103rd Street was a vibrant commercial hub. Henderson’s mother had a shop there.\u003c/p>\n\u003cp>“So her store was the only one that didn’t get burned,\" she recalls. \"My dad got shot in the riots. There used to be a grocery store that sits on the corner. And I remember that store exploding while we were standing in the front yard.”\u003c/p>\n\u003cp>It’s been a struggle to keep the annual festival going, Henderson says.\u003c/p>\n\u003cp>While the park could easily accommodate several thousand people, only a few hundred mill around on a picture postcard sunny Southern California afternoon.\u003c/p>\n\u003cp>It’s also an older crowd, filled with people who share vivid memories of '65.\u003c/p>\n\u003cfigure id=\"attachment_10638058\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/WATTS-FEST-WATERS-DANCE.jpg\">\u003cimg class=\"size-medium wp-image-10638058\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/WATTS-FEST-WATERS-DANCE-800x511.jpg\" alt=\"Congresswoman Maxine Waters was among the celebrants at Saturday's 49th Watts Summer Festival. Waters represents the Watts area. \" width=\"800\" height=\"511\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-WATERS-DANCE-800x511.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-WATERS-DANCE-400x256.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-WATERS-DANCE-1440x920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-WATERS-DANCE.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-WATERS-DANCE-1180x754.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-WATERS-DANCE-960x614.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Congresswoman Maxine Waters was among the celebrants at Saturday's 49th Watts Summer Festival. Waters represents the Watts area. \u003ccite>(Steven Cuevas / KPCC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Hell, I got arrested,” Amen Rahh tells the crowd from the festival stage.\u003c/p>\n\u003cp>“You understand, I was a political prisoner in juvenile hall for 45 days,” says Rahh, a retired black studies professor.\u003c/p>\n\u003cp>Rahh also grew up in Watts and as a young man took part in what he prefers to call the rebellion.\u003c/p>\n\u003cp>I ask Rahh how he would he advise his much younger self if he could go back in time. Would he try to persuade that kid to stay inside, to pull his friends away from the violence?\u003c/p>\n\u003cp>“I’d do the same thing,\" he answers.\u003c/p>\n\u003cp>“It had to be done to develop a better-respecting relationship with law enforcement. It just didn’t go far enough to the total criminal justice system,” says Rahh, referring to both past and very recent high-profile police-involved shootings.\u003c/p>\n\u003cp>Rahh says while the destruction and loss of life 50 years ago was regrettable, it also inspired activism that led to the creation of a community hospital, youth centers, health clinics and more.\u003c/p>\n\u003cp>“And there was a love and respect for each other after the rebellion,” says Rahh.\u003c/p>\n\u003cp>Then he adds, “But you got to understand, the Watts that used to be has changed and it’s mostly an immigrant city now.”\u003c/p>\n\u003cp>Many black residents moved out after the riots. Thousands more left in the following decades as gang violence surged and crack cocaine flooded neighborhoods. Affordable housing was built north of L.A. in the Antelope Valley and east in the blue-collar suburbs of the Inland Empire.\u003c/p>\n\u003cp>Over the decades, there has been some change for the better in Watts.\u003c/p>\n\u003cp>Just 10 years ago, in 2005, there were 20 murders in Watts. There have been none so far this year. Police foot patrols have increased in troubled parts of the community.\u003c/p>\n\u003cp>Funding for public projects continues to be plowed into the community, including a new children’s center designed by famed architect Frank Gehry.\u003c/p>\n\u003cp>But Dee Dee Pitcher Henderson says the economy has never fully rebounded. There are few retail businesses and just one independently owned non fast-food restaurant.\u003c/p>\n\u003cp>“If you want to go shopping you got to go outside the area,” says Henderson. “Everywhere around Watts has been built up, Huntington Park, Lynwood, Compton, everywhere has built up around us and we’re still kind of like stagnated.”\u003c/p>\n\u003cp>And other problems also persist: gang violence, high unemployment and a quiet tension between many black and newer Latino residents.\u003c/p>\n\u003cp>Enter \u003ca href=\"http://www.thedangerman.com/\">Dangerman\u003c/a>.\u003c/p>\n\u003cp>“A real-life urban superhero,” says the man who calls himself Dangerman.\u003c/p>\n\u003cp>Dressed head to toe in a sky blue superhero outfit and matching face mask, actor-comedian Roger Tinsley created Dangerman about 20 years ago to promote literacy, safety and good nutrition among youth in low-income minority neighborhoods.\u003c/p>\n\u003cp>“I’m much busier than ever because now we have kids every day dying,” says Tinsley.\u003c/p>\n\u003cp>“We talk about Black Lives Matter. Well, not only do black lives matter when police are involved but black lives matter in our cities every day,” says Tinsley. “It’s a struggle every day for our young people in this country”\u003c/p>\n\u003cp>Near a playground at the edge of the festival a group of kids gather around a charismatic young poet named \u003ca href=\"http://www.yngrobb.webs.com/\">Robert Williams\u003c/a>. He was born a good 25 years after the Watts riots.\u003c/p>\n\u003cp>While he understands the circumstances that sparked the unrest 50 years ago, he has a tough time making sense of the violence.\u003c/p>\n\u003cfigure id=\"attachment_10638063\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/watts-fest-young-robb-2.jpg\">\u003cimg class=\"size-medium wp-image-10638063\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/watts-fest-young-robb-2-800x560.jpg\" alt=\"Compton poet Robert Williams aka Young Robb unleashes some of his socially conscious rhymes for some kids at the Watts Summer Festival\" width=\"800\" height=\"560\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/watts-fest-young-robb-2-800x560.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/watts-fest-young-robb-2-400x280.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/watts-fest-young-robb-2-1440x1007.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/watts-fest-young-robb-2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/watts-fest-young-robb-2-1180x825.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/watts-fest-young-robb-2-960x672.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Compton poet Robert Williams aka Young Robb unleashes some of his socially conscious rhymes for some kids at the Watts Summer Festival \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Don’t burn down your own community. If you love your community then clean it up, stand up for it,” says Williams.\u003c/p>\n\u003cp>“Hopefully the generation has changed where a lot of people can understand to take care instead of destroy. Let’s stick together and create something, let’s not just get together and destroy,” says Williams.\u003c/p>\n\u003cp>On the festival stage, \u003ca href=\"http://www.expressyourself.net/\">Charles Wright\u003c/a> and the Watts 103rd Street Rhythm Band tear through songs that made them local legends back in the mid-1960s.\u003c/p>\n\u003cp>Wright jumps into the crowd for a sing-along on one of his biggest hits (later sampled by South L.A. rappers N.W.A) “Express Yourself.”\u003c/p>\n\u003cfigure id=\"attachment_10638067\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/WATTS-FEST-Wright-2.jpg\">\u003cimg class=\"size-medium wp-image-10638067\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/WATTS-FEST-Wright-2-800x533.jpg\" alt=\"Los Angeles R&B legend Charles Wright performing at the annual Watts Summer Festival\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-Wright-2-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-Wright-2-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-Wright-2-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-Wright-2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-Wright-2-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/08/WATTS-FEST-Wright-2-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Los Angeles R&B legend Charles Wright performing at the annual Watts Summer Festival \u003ccite>(Steven Cuevas / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s a celebratory moment on an otherwise grim anniversary. One that 50 years on reminds people how much has been accomplished -- and how much more remains to be done.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "20 Years Ago Today, 'Captain Trips' Died and the Dot-Com Boom Took Off",
"title": "20 Years Ago Today, 'Captain Trips' Died and the Dot-Com Boom Took Off",
"headTitle": "Boomtown | News Fix | KQED News",
"content": "\u003cp>[dropcap]T[/dropcap]here are some days when, over a few unforgettable hours, the world seems to shift on its axis. They often involve flames, explosions and splintering steel.\u003c/p>\n\u003cp>Other days mark a similar tectonic shift, if only symbolically. One happened 20 years ago on the morning of Aug. 9, 1995, when the Age of Aquarius and the dot-com boom briefly collided, signaling a transition from one era to the next.\u003c/p>\n\u003cp>The first event occurred just before dawn when guitarist Jerry Garcia, founder of the Grateful Dead and one of the iconic symbols of a generation shaped by music, love, and community, \u003ca href=\"http://6thfloor.blogs.nytimes.com/2013/08/09/the-day-jerry-garcia-died/?_r=0\">was found dead\u003c/a> at Serenity Knolls, a rehab facility in Marin County, just north of San Francisco.\u003c/p>\n\u003cp>He had checked into the site a few days earlier to clean up for an upcoming fall tour. A long-term drug problem, involving mostly heroin and cocaine, had turned Garcia’s diabetic and overweight body into a death trap.\u003c/p>\n\u003cp>[jerrygarcia]\u003c/p>\n\u003cp>“He was sometimes so incapacitated he couldn’t function,” writes Grateful Dead drummer Bill Kreutzmann in his book, \"Deal: My Three Decades of Drumming, Dreams, and Drugs with the Grateful Dead.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While on stage, Garcia forgot lyrics, missed notes and could often seem listless and disoriented. The gray-bearded guru had significant health problems, made worse by cigarette smoking and the stress of the Dead’s tour schedule. In 1986, he nearly died when he slipped into a diabetic coma, but the Grim Reaper wasn’t ready just then. On Aug. 9, 1995, it was.\u003c/p>\n\u003cp>Garcia was found unresponsive in bed just after 4 a.m. A staff nurse and local paramedics frantically administered CPR, but it was too late: Jerry Garcia, who had just turned 53, was dead of a heart attack.\u003c/p>\n\u003cp>As Garcia’s body was driven down a winding wooded road to the local coroner, a wildly different scene was occurring 3,000 miles to the east, at Manhattan’s Nasdaq stock market. It was 9:30 a.m. and Netscape Communications was about to go public.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8WRo3j5XS-A\u003c/p>\n\u003cp>\u003cstrong>Dawn of a New Era\u003c/strong>\u003c/p>\n\u003cp>Many investors had high hopes for \u003ca href=\"http://www.marketwatch.com/story/netscape-ipo-ignited-the-boom-taught-some-hard-lessons-20058518550\">Netscape\u003c/a>, which, just eight months earlier, had released the first version of its groundbreaking Web browser, helping to simplify and transform the online experience. The stock was to be offered at $14 per share, but with so much interest they made a high-stakes gamble and doubled the initial price to $28 per share.\u003c/p>\n\u003cp>Nothing prepared investors for what happened next. Demand for the Netscape shares was so intense that for almost two hours after the opening bell, trading in Netscape shares couldn't open, as the bids were overwhelming the asks. When it finally opened, the share price shot up. And up.\u003c/p>\n\u003cfigure id=\"attachment_10634431\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/1101960219_400.jpg\">\u003cimg class=\"size-thumbnail wp-image-10634431\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/1101960219_400-400x527.jpg\" alt=\"A Time magazine cover from February 1996 featured Netscape's Marc Andreessen.\" width=\"400\" height=\"527\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A Time magazine cover from February 1996 featured Netscape's Marc Andreessen. \u003ccite>(TIME Magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Within a few moments it hit $71, then later peaked at $75. Venture capitalist John Doerr, an early investor, later recalled: “When I checked the price, I was numb.”\u003c/p>\n\u003cp>By day’s end, Netscape’s stock price had settled in at $58.25, giving the company a market value of $2.9 billion. The firm was only 16 months old and had yet to make a profit, but none of that seemed to matter on the day the Netscape bottle rocket lit up the sky.\u003c/p>\n\u003cp>he Netscape IPO was to tech entrepreneurs what the Beatles appearance on the Ed Sullivan show was to pop music fans -- the astonishing moment when a mental door flew open and a new world awaited, in glorious Technicolor.\u003c/p>\n\u003cp>A decade later, \u003ca href=\"http://archive.fortune.com/magazines/fortune/fortune_archive/2005/07/25/8266639/index.htm\">Adam Lashinsky spelled out \u003c/a>what Netscape’s IPO meant in Fortune:\u003cem> \u003c/em>\u003c/p>\n\u003cp>“More than any other company, it set the technological, social, and financial tone of the Internet age. Its founders, Marc Andreessen and Jim Clark -- a baby-faced 24-year-old programmer from the Midwest and a restless middle-aged tech pioneer who badly wanted to strike gold again -- inspired a generation of entrepreneurs to try to become tech millionaires.”\u003c/p>\n\u003cp>A month after Netscape went public, eBay was founded. The following spring, Stanford students Larry Page and Sergey Brin began developing a Web-based “crawling” technology called BackRub, laying the foundation for the creation of Google.\u003c/p>\n\u003cp>The success of the IPO created the term “Netscape Moment” -- a giddy point that marks the starting gun of a new industry and age. Many business historians say the dot-com boom began that day. Soon, everyone was pestering their broker for tips on new companies. Day trading of stocks via online brokers such as Ameritrade or Etrade was now considered a career.\u003c/p>\n\u003cp>Companies like \u003ca href=\"http://www.redhat.com/en/about/company\">Red Hat Software\u003c/a>, \u003ca href=\"https://www.akamai.com/us/en/about/company-history.jsp\">Akamai Technologies\u003c/a> and \u003ca href=\"http://www.theglobe.com/\">theGlobe.com\u003c/a> would surpass even Netscape’s heights, seeing their shares rise more than 400 percent in their first day of trading -- an excitement that former Federal Reserve Chairman Alan Greenspan famously called “irrational exuberance.”\u003c/p>\n\u003cp>Was it? Business was radically and quickly reshaped worldwide by inexpensive communications based on a browser-based Internet. It was the biggest era of U.S. wealth creation in generations. Within five years, the tech-heavy Nasdaq soared from 1,000 companies to more than 5,100.\u003c/p>\n\u003cp>\u003cstrong>Spontaneous Wake\u003c/strong>\u003c/p>\n\u003cp>Back in San Francisco, the early glimmers of the Internet gold rush meant little to mourning Grateful Dead fans, who had lost an irreplaceable musical god. A spontaneous citywide wake developed. Mayor Frank Jordan ordered city flags to fly at half-staff\u003c/p>\n\u003cp>Hundreds gathered in Haight-Ashbury, the low-rent neighborhood that formed a spiritual base for 1960s counterculture. Some sat on the stoop of 710 Ashbury, the ornate house where the Grateful Dead briefly lived, to console, cry, talk it out and get high. Thousands of mourners gathered in Golden Gate Park, listening to tapes of the Dead and creating a makeshift shrine to Jerry.\u003c/p>\n\u003cp>[jerrygarciamourners]\u003c/p>\n\u003cp>That night, Dead guitarist Bob Weir went ahead with a scheduled solo show in Hampton Beach, N.H. “If our dear, departed friend proved anything to us,” Weir told the crowd, “he proved that great music can make sad times better.”\u003c/p>\n\u003cp>But Deadheads high and low knew better -- an age had passed. Sen. Patrick Leahy said the news of Garcia’s death felt “like I had been kicked in the stomach.” A month earlier, at the band’s final gig with Garcia in Chicago, they ended the show with the song “Box of Rain” and its prescient lyrics: “Such a long long time to be gone/and a short time to be there.”\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch2>\"So Many Roads\" From Garcia's Final Concert\u003c/h2>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"400\" height=\"300\" src=\"https://www.youtube.com/embed/6sFyRQPraJ8\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003c/aside>\n\u003cp>For Garcia and many Deadheads, that short time was now over. The group had survived the death of other active members -- founding member Ron \"Pigpen\" McKernan succumbed to an internal hemorrhage in 1973, and keyboardist Brent Mydland died from a drug overdose in 1990 -- but the loss of their colorful leader, affectionately known as Captain Trips, was insurmountable. Within four months of Garcia’s passing, the band that had meant so much to so many officially called it quits.\u003c/p>\n\u003cp>At the closing bell of the stock market, Netscape shareholders were also in a state of shock, although a delightful one. Many were now staggeringly wealthy. Jim Clark’s 20 percent share was suddenly worth $663 million. Champagne bottles were popped open; toasts were made.\u003c/p>\n\u003cp>Heady days were still ahead, but nothing compared with the surreal euphoria of that first day. Netscape’s stock peaked in late 1995 at $171 share, before its market share began to slip. AOL acquired the company in 1999 for $10 billion, but by 2002 it was sliding rapidly and had less than 10 percent of the browser market. In early 2008, AOL finally pulled the plug on the Netscape browser.\u003c/p>\n\u003cp>But on that warm August day in 1995, Netheads and Deadheads shared a moment of high drama and importance -- one group thrilling to a colorful dawn, the other wistfully watching a darkening sunset. The zeitgeist was changing. The fading notes of the psychedelic age started to be drowned out by the buzz of red-hot startups. LSD was replaced by IPO. Idealism was out; stock options were in.\u003c/p>\n\u003cp>Some people made the connection at the time, and soon after Garcia’s death some black humor began circulating in the Silicon Valley high-tech community:\u003c/p>\n\u003cp>\u003cem>What were Jerry Garcia’s last words?\u003c/em>\u003c/p>\n\u003cp>\u003cem>“Netscape opened at WHAT?!”\u003c/em>\u003c/p>\n\u003cp>Today is the 20th anniversary of that momentous day.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>James Daly is a Bay Area journalist and entrepreneur -- frequently both. He's launched successful publications for TED Curator Chris Anderson (TED Books, Business 2.0) and filmmaker George Lucas (Edutopia), serving as editor in chief of all. Daly has also worked and written for Wired, Forbes, Rolling Stone, Sonoma, Spin, Red Herring, i-D, the San Francisco Chronicle and the Los Angeles Times. \u003c/em>\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\">T\u003c/span>\u003c/p>\u003cp>here are some days when, over a few unforgettable hours, the world seems to shift on its axis. They often involve flames, explosions and splintering steel.\u003c/p>\n\u003cp>Other days mark a similar tectonic shift, if only symbolically. One happened 20 years ago on the morning of Aug. 9, 1995, when the Age of Aquarius and the dot-com boom briefly collided, signaling a transition from one era to the next.\u003c/p>\n\u003cp>The first event occurred just before dawn when guitarist Jerry Garcia, founder of the Grateful Dead and one of the iconic symbols of a generation shaped by music, love, and community, \u003ca href=\"http://6thfloor.blogs.nytimes.com/2013/08/09/the-day-jerry-garcia-died/?_r=0\">was found dead\u003c/a> at Serenity Knolls, a rehab facility in Marin County, just north of San Francisco.\u003c/p>\n\u003cp>He had checked into the site a few days earlier to clean up for an upcoming fall tour. A long-term drug problem, involving mostly heroin and cocaine, had turned Garcia’s diabetic and overweight body into a death trap.\u003c/p>\n\u003cp>[jerrygarcia]\u003c/p>\n\u003cp>“He was sometimes so incapacitated he couldn’t function,” writes Grateful Dead drummer Bill Kreutzmann in his book, \"Deal: My Three Decades of Drumming, Dreams, and Drugs with the Grateful Dead.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While on stage, Garcia forgot lyrics, missed notes and could often seem listless and disoriented. The gray-bearded guru had significant health problems, made worse by cigarette smoking and the stress of the Dead’s tour schedule. In 1986, he nearly died when he slipped into a diabetic coma, but the Grim Reaper wasn’t ready just then. On Aug. 9, 1995, it was.\u003c/p>\n\u003cp>Garcia was found unresponsive in bed just after 4 a.m. A staff nurse and local paramedics frantically administered CPR, but it was too late: Jerry Garcia, who had just turned 53, was dead of a heart attack.\u003c/p>\n\u003cp>As Garcia’s body was driven down a winding wooded road to the local coroner, a wildly different scene was occurring 3,000 miles to the east, at Manhattan’s Nasdaq stock market. It was 9:30 a.m. and Netscape Communications was about to go public.\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/8WRo3j5XS-A'\n title='//www.youtube.com/embed/8WRo3j5XS-A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Dawn of a New Era\u003c/strong>\u003c/p>\n\u003cp>Many investors had high hopes for \u003ca href=\"http://www.marketwatch.com/story/netscape-ipo-ignited-the-boom-taught-some-hard-lessons-20058518550\">Netscape\u003c/a>, which, just eight months earlier, had released the first version of its groundbreaking Web browser, helping to simplify and transform the online experience. The stock was to be offered at $14 per share, but with so much interest they made a high-stakes gamble and doubled the initial price to $28 per share.\u003c/p>\n\u003cp>Nothing prepared investors for what happened next. Demand for the Netscape shares was so intense that for almost two hours after the opening bell, trading in Netscape shares couldn't open, as the bids were overwhelming the asks. When it finally opened, the share price shot up. And up.\u003c/p>\n\u003cfigure id=\"attachment_10634431\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/1101960219_400.jpg\">\u003cimg class=\"size-thumbnail wp-image-10634431\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/1101960219_400-400x527.jpg\" alt=\"A Time magazine cover from February 1996 featured Netscape's Marc Andreessen.\" width=\"400\" height=\"527\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A Time magazine cover from February 1996 featured Netscape's Marc Andreessen. \u003ccite>(TIME Magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Within a few moments it hit $71, then later peaked at $75. Venture capitalist John Doerr, an early investor, later recalled: “When I checked the price, I was numb.”\u003c/p>\n\u003cp>By day’s end, Netscape’s stock price had settled in at $58.25, giving the company a market value of $2.9 billion. The firm was only 16 months old and had yet to make a profit, but none of that seemed to matter on the day the Netscape bottle rocket lit up the sky.\u003c/p>\n\u003cp>he Netscape IPO was to tech entrepreneurs what the Beatles appearance on the Ed Sullivan show was to pop music fans -- the astonishing moment when a mental door flew open and a new world awaited, in glorious Technicolor.\u003c/p>\n\u003cp>A decade later, \u003ca href=\"http://archive.fortune.com/magazines/fortune/fortune_archive/2005/07/25/8266639/index.htm\">Adam Lashinsky spelled out \u003c/a>what Netscape’s IPO meant in Fortune:\u003cem> \u003c/em>\u003c/p>\n\u003cp>“More than any other company, it set the technological, social, and financial tone of the Internet age. Its founders, Marc Andreessen and Jim Clark -- a baby-faced 24-year-old programmer from the Midwest and a restless middle-aged tech pioneer who badly wanted to strike gold again -- inspired a generation of entrepreneurs to try to become tech millionaires.”\u003c/p>\n\u003cp>A month after Netscape went public, eBay was founded. The following spring, Stanford students Larry Page and Sergey Brin began developing a Web-based “crawling” technology called BackRub, laying the foundation for the creation of Google.\u003c/p>\n\u003cp>The success of the IPO created the term “Netscape Moment” -- a giddy point that marks the starting gun of a new industry and age. Many business historians say the dot-com boom began that day. Soon, everyone was pestering their broker for tips on new companies. Day trading of stocks via online brokers such as Ameritrade or Etrade was now considered a career.\u003c/p>\n\u003cp>Companies like \u003ca href=\"http://www.redhat.com/en/about/company\">Red Hat Software\u003c/a>, \u003ca href=\"https://www.akamai.com/us/en/about/company-history.jsp\">Akamai Technologies\u003c/a> and \u003ca href=\"http://www.theglobe.com/\">theGlobe.com\u003c/a> would surpass even Netscape’s heights, seeing their shares rise more than 400 percent in their first day of trading -- an excitement that former Federal Reserve Chairman Alan Greenspan famously called “irrational exuberance.”\u003c/p>\n\u003cp>Was it? Business was radically and quickly reshaped worldwide by inexpensive communications based on a browser-based Internet. It was the biggest era of U.S. wealth creation in generations. Within five years, the tech-heavy Nasdaq soared from 1,000 companies to more than 5,100.\u003c/p>\n\u003cp>\u003cstrong>Spontaneous Wake\u003c/strong>\u003c/p>\n\u003cp>Back in San Francisco, the early glimmers of the Internet gold rush meant little to mourning Grateful Dead fans, who had lost an irreplaceable musical god. A spontaneous citywide wake developed. Mayor Frank Jordan ordered city flags to fly at half-staff\u003c/p>\n\u003cp>Hundreds gathered in Haight-Ashbury, the low-rent neighborhood that formed a spiritual base for 1960s counterculture. Some sat on the stoop of 710 Ashbury, the ornate house where the Grateful Dead briefly lived, to console, cry, talk it out and get high. Thousands of mourners gathered in Golden Gate Park, listening to tapes of the Dead and creating a makeshift shrine to Jerry.\u003c/p>\n\u003cp>[jerrygarciamourners]\u003c/p>\n\u003cp>That night, Dead guitarist Bob Weir went ahead with a scheduled solo show in Hampton Beach, N.H. “If our dear, departed friend proved anything to us,” Weir told the crowd, “he proved that great music can make sad times better.”\u003c/p>\n\u003cp>But Deadheads high and low knew better -- an age had passed. Sen. Patrick Leahy said the news of Garcia’s death felt “like I had been kicked in the stomach.” A month earlier, at the band’s final gig with Garcia in Chicago, they ended the show with the song “Box of Rain” and its prescient lyrics: “Such a long long time to be gone/and a short time to be there.”\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch2>\"So Many Roads\" From Garcia's Final Concert\u003c/h2>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"400\" height=\"300\" src=\"https://www.youtube.com/embed/6sFyRQPraJ8\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003c/aside>\n\u003cp>For Garcia and many Deadheads, that short time was now over. The group had survived the death of other active members -- founding member Ron \"Pigpen\" McKernan succumbed to an internal hemorrhage in 1973, and keyboardist Brent Mydland died from a drug overdose in 1990 -- but the loss of their colorful leader, affectionately known as Captain Trips, was insurmountable. Within four months of Garcia’s passing, the band that had meant so much to so many officially called it quits.\u003c/p>\n\u003cp>At the closing bell of the stock market, Netscape shareholders were also in a state of shock, although a delightful one. Many were now staggeringly wealthy. Jim Clark’s 20 percent share was suddenly worth $663 million. Champagne bottles were popped open; toasts were made.\u003c/p>\n\u003cp>Heady days were still ahead, but nothing compared with the surreal euphoria of that first day. Netscape’s stock peaked in late 1995 at $171 share, before its market share began to slip. AOL acquired the company in 1999 for $10 billion, but by 2002 it was sliding rapidly and had less than 10 percent of the browser market. In early 2008, AOL finally pulled the plug on the Netscape browser.\u003c/p>\n\u003cp>But on that warm August day in 1995, Netheads and Deadheads shared a moment of high drama and importance -- one group thrilling to a colorful dawn, the other wistfully watching a darkening sunset. The zeitgeist was changing. The fading notes of the psychedelic age started to be drowned out by the buzz of red-hot startups. LSD was replaced by IPO. Idealism was out; stock options were in.\u003c/p>\n\u003cp>Some people made the connection at the time, and soon after Garcia’s death some black humor began circulating in the Silicon Valley high-tech community:\u003c/p>\n\u003cp>\u003cem>What were Jerry Garcia’s last words?\u003c/em>\u003c/p>\n\u003cp>\u003cem>“Netscape opened at WHAT?!”\u003c/em>\u003c/p>\n\u003cp>Today is the 20th anniversary of that momentous day.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "A Hollywood Costume Designer's Tips for Dressing on a Budget",
"title": "A Hollywood Costume Designer's Tips for Dressing on a Budget",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Alison Freer once turned a man into a bush. She made another guy into a jalapeno, and yet another into a taco. But she’s not a vengeful practitioner of sorcery. Freer is a Hollywood costume designer. \u003c/p>\n\u003cp>For 15 years she’s worked in the show biz trenches, nipping, ripping and tucking on desperate deadlines in a job based more on big imagination than big budgets. Now she’s written \u003ca href=\"http://www.amazon.com/How-Get-Dressed-Costume-Designers/dp/1607747065/ref=sr_1_1?ie=UTF8&qid=1438904226&sr=8-1&keywords=how+to+get+dressed+alison+freer\" target=\"_blank\">\"How to Get Dressed\u003c/a>,\" a book utilizing her creative insider knowledge on making the most of what you wear.\u003c/p>\n\u003cp>It’s 6 a.m. at a studio in east Hollywood. In the dressing room of the Amazon kid’s show \u003ca href=\"http://www.amazon.com/Gortimer-vs-Frog-Ultimate-Doom/dp/B00I3MPMPA\" target=\"_blank\">Gortimer Gibbons' Life on Normal Street\u003c/a>, Freer and her three-woman team are already hard at work on actor Nate Torrence.\u003c/p>\n\u003cp>“Nate is playing a fictional character who is half pirate, half fireman,” explains Freer between slugs of coffee. “He lives in another state and flew in for his fitting this morning, and he works in about an hour and a half, so we’re frantically figuring out something for him to wear.”\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/218278187\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>When the appropriate fireman/pirate look has been achieved, Freer grabs her java and follows costumes that are racked and rolled to the soundstage. The show’s director, Luke Matheny, huddles briefly with Freer over the last minute script changes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We have a kids’ show that we move pretty fast on,” says Matheny. “We don’t have much time and not much money, so you need a really resourceful person to make those characters come to life. I think Scorsese says that the character is the costume, and Alison can really roll with the punches and make something out of nothing very quickly.”\u003c/p>\n\u003cp>Improvisation and ingenuity rule the day in Freer’s world.\u003c/p>\n\u003cp>“It’s very much like the A-Team,” she explains. “What do we have? We have a coat hanger and some gum and this weird piece of wood. What can we make out of it? To this day, it’s still the same. Every job.”\u003c/p>\n\u003cp>Costume design is in her blood.\u003c/p>\n\u003cp>“My great-great-grandmother was a seamstress for the Ringling Bros. circus in Sarasota, Florida,” says Freer, “and my great-grandmother, a child at the time, worked in complete violation of child labor laws making bridles for show ponies and clown costumes. So they taught me certain heritage skills that I feel like have fallen by the wayside a little bit -- skills that helped me as a costumer and now are really the backbone of this book.”\u003c/p>\n\u003cp>With sections like “Ironing Is for Suckers,” “How to Frankenstein a Bra that Works for You,” and “Spit Removes Blood Like, Whoa,” Freer’s \"How to Get Dressed\" updates that heritage. And, after reading some 60 previous books on the self-help fashion shelf, she came to a realization:\u003c/p>\n\u003cp>“They were not practical for the everyday girl. They talked about buying investment pieces, which, if you can afford it, is a great thing to do. But if you’re a 19-year-old girl entering the workforce, what you want to hear is how to have the sleeves taken up on a blazer from Forever 21 so you don’t look like you’re wearing your mom’s clothing.\u003c/p>\n\u003cp>“What’s happening at Chanel and Givenchy and all these places doesn’t apply to you. I realized there wasn’t anything intensely practical, and in my day job I traffic in the practical only. It’s results oriented or it goes out the door.”\u003c/p>\n\u003cp>In her 1918 Craftsman house near downtown Los Angeles, Freer has a bedroom-turned-wardrobe vault devoted to her obsessive lust for fashion.\u003c/p>\n\u003cp>“This is my horrifying closet,” she says, chuckling. “This is my life’s work, this is my greatest accomplishment.”\u003c/p>\n\u003cp>It’s wall-to-wall clothing. All manner of stuff. Dresses, hats, kimonos, a pickle costume. And boxes of shoes. Lots of boxes of shoes. Freer has them stacked and labeled meticulously. She hunkers down to examine one.\u003c/p>\n\u003cp>“What do we have right here? Grey Doc Martens, floral. Blue Doc Martens, floral. Black and gold lace-up heels. I like this: silver glitter boots times two. That tells me I have a double of those. I liked those so much I bought them twice.”\u003c/p>\n\u003cp>It was this closet that launched her career. A friend of a friend was a commercial director. He dropped by one day, “And he said, ‘Wow, look at all these clothes. Are you a costume designer?' And I had no idea what that meant, but it sounded very glamorous and I said yes, yes I am. I lied, basically.”\u003c/p>\n\u003cp>The truth is, Freer’s previous career taught her invaluable skills for the jump to laboring in Tinseltown.\u003c/p>\n\u003cp>“I worked retail for 15 years of my life. Anybody who walked into the door of any store that I worked at, I could tell immediately, should I be nice to them? Should I be a little bit mean? Should I be coquettish? What personality should I take on to sell them on my ideas? Because that’s really all it is. Psychology and salesmanship really are the two skills I use daily.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Freer works constantly and her book has climbed quickly up the Amazon rankings, although she says she’s happy working behind the scenes, far from the red carpet. But think of her the next time you’re watching TV -- and you see a man dressed as a taco.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Alison Freer once turned a man into a bush. She made another guy into a jalapeno, and yet another into a taco. But she’s not a vengeful practitioner of sorcery. Freer is a Hollywood costume designer. \u003c/p>\n\u003cp>For 15 years she’s worked in the show biz trenches, nipping, ripping and tucking on desperate deadlines in a job based more on big imagination than big budgets. Now she’s written \u003ca href=\"http://www.amazon.com/How-Get-Dressed-Costume-Designers/dp/1607747065/ref=sr_1_1?ie=UTF8&qid=1438904226&sr=8-1&keywords=how+to+get+dressed+alison+freer\" target=\"_blank\">\"How to Get Dressed\u003c/a>,\" a book utilizing her creative insider knowledge on making the most of what you wear.\u003c/p>\n\u003cp>It’s 6 a.m. at a studio in east Hollywood. In the dressing room of the Amazon kid’s show \u003ca href=\"http://www.amazon.com/Gortimer-vs-Frog-Ultimate-Doom/dp/B00I3MPMPA\" target=\"_blank\">Gortimer Gibbons' Life on Normal Street\u003c/a>, Freer and her three-woman team are already hard at work on actor Nate Torrence.\u003c/p>\n\u003cp>“Nate is playing a fictional character who is half pirate, half fireman,” explains Freer between slugs of coffee. “He lives in another state and flew in for his fitting this morning, and he works in about an hour and a half, so we’re frantically figuring out something for him to wear.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/218278187&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/218278187'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>When the appropriate fireman/pirate look has been achieved, Freer grabs her java and follows costumes that are racked and rolled to the soundstage. The show’s director, Luke Matheny, huddles briefly with Freer over the last minute script changes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We have a kids’ show that we move pretty fast on,” says Matheny. “We don’t have much time and not much money, so you need a really resourceful person to make those characters come to life. I think Scorsese says that the character is the costume, and Alison can really roll with the punches and make something out of nothing very quickly.”\u003c/p>\n\u003cp>Improvisation and ingenuity rule the day in Freer’s world.\u003c/p>\n\u003cp>“It’s very much like the A-Team,” she explains. “What do we have? We have a coat hanger and some gum and this weird piece of wood. What can we make out of it? To this day, it’s still the same. Every job.”\u003c/p>\n\u003cp>Costume design is in her blood.\u003c/p>\n\u003cp>“My great-great-grandmother was a seamstress for the Ringling Bros. circus in Sarasota, Florida,” says Freer, “and my great-grandmother, a child at the time, worked in complete violation of child labor laws making bridles for show ponies and clown costumes. So they taught me certain heritage skills that I feel like have fallen by the wayside a little bit -- skills that helped me as a costumer and now are really the backbone of this book.”\u003c/p>\n\u003cp>With sections like “Ironing Is for Suckers,” “How to Frankenstein a Bra that Works for You,” and “Spit Removes Blood Like, Whoa,” Freer’s \"How to Get Dressed\" updates that heritage. And, after reading some 60 previous books on the self-help fashion shelf, she came to a realization:\u003c/p>\n\u003cp>“They were not practical for the everyday girl. They talked about buying investment pieces, which, if you can afford it, is a great thing to do. But if you’re a 19-year-old girl entering the workforce, what you want to hear is how to have the sleeves taken up on a blazer from Forever 21 so you don’t look like you’re wearing your mom’s clothing.\u003c/p>\n\u003cp>“What’s happening at Chanel and Givenchy and all these places doesn’t apply to you. I realized there wasn’t anything intensely practical, and in my day job I traffic in the practical only. It’s results oriented or it goes out the door.”\u003c/p>\n\u003cp>In her 1918 Craftsman house near downtown Los Angeles, Freer has a bedroom-turned-wardrobe vault devoted to her obsessive lust for fashion.\u003c/p>\n\u003cp>“This is my horrifying closet,” she says, chuckling. “This is my life’s work, this is my greatest accomplishment.”\u003c/p>\n\u003cp>It’s wall-to-wall clothing. All manner of stuff. Dresses, hats, kimonos, a pickle costume. And boxes of shoes. Lots of boxes of shoes. Freer has them stacked and labeled meticulously. She hunkers down to examine one.\u003c/p>\n\u003cp>“What do we have right here? Grey Doc Martens, floral. Blue Doc Martens, floral. Black and gold lace-up heels. I like this: silver glitter boots times two. That tells me I have a double of those. I liked those so much I bought them twice.”\u003c/p>\n\u003cp>It was this closet that launched her career. A friend of a friend was a commercial director. He dropped by one day, “And he said, ‘Wow, look at all these clothes. Are you a costume designer?' And I had no idea what that meant, but it sounded very glamorous and I said yes, yes I am. I lied, basically.”\u003c/p>\n\u003cp>The truth is, Freer’s previous career taught her invaluable skills for the jump to laboring in Tinseltown.\u003c/p>\n\u003cp>“I worked retail for 15 years of my life. Anybody who walked into the door of any store that I worked at, I could tell immediately, should I be nice to them? Should I be a little bit mean? Should I be coquettish? What personality should I take on to sell them on my ideas? Because that’s really all it is. Psychology and salesmanship really are the two skills I use daily.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Freer works constantly and her book has climbed quickly up the Amazon rankings, although she says she’s happy working behind the scenes, far from the red carpet. But think of her the next time you’re watching TV -- and you see a man dressed as a taco.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-l-a-rebellion-how-the-1965-watts-riots-helped-spark-a-cinematic-revolution",
"title": "The L.A. Rebellion: How the Watts Riots Helped Spark a Cinematic Revolution",
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"content": "\u003cp>In Haile Gerima’s 1975 student film \u003ca href=\"https://www.youtube.com/watch?v=Himxf4s_qgk\">“Bush Mama,”\u003c/a> the character T.C., played by actor Johnny Weathers, leans up against the bars of his jail cell and speaks directly to the camera.\u003c/p>\n\u003cp>“Now ya see this white boy,” says T.C. referring to a white guard.\u003c/p>\n\u003cp>“To guard niggers is within his blood,” says T.C., fingers wrapped tight around the cell bars.\u003c/p>\n\u003cp>“His roots is maybe ‘overseer,’ and we still the son of the slave. That’s what I inherited … all of us!”\u003c/p>\n\u003cfigure id=\"attachment_10633182\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"591\" class=\"wp-image-10633182 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-800x591.jpg\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-800x591.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-400x296.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-1440x1064.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-1180x872.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-960x710.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Johnny Weathers in a scene from from Haile Gerima’s film “Bush Mama” \u003ccite>(Haile Germia / Youtube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Bush Mama” is one of the landmark films to come out of the first wave of black student filmmakers at UCLA, a tightly knit band of experimental, ideological and fiercely independent artists known as the \u003ca href=\"https://www.cinema.ucla.edu/la-rebellion/story-la-rebellion\">L.A. Rebellion\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>They’d turn the riot-torn streets of Watts and other south L.A. communities into the real-life soundstage for work that bucked the Hollywood system.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/218278055″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>In “Bush Mama,” a disillusioned Vietnam War veteran, T.C., is convicted of a crime he didn’t commit. And life at home is starting to unravel for his pregnant wife Dorothy.\u003c/p>\n\u003cp>Much of the film is told through their correspondence.\u003c/p>\n\u003cp>The film was largely improvisational. Scenes filmed on the streets of Watts were shot without permits.\u003c/p>\n\u003cp>“Everything was guerilla style, from getting the equipment out of UCLA to shooting without permits,” says UCLA Film & Television Archive Director Christopher Horak. “’Bush Mama’ opens with the police arresting the crew.”\u003c/p>\n\u003cp>Gerima said he and other young black filmmakers at UCLA wanted to make movies depicting African-American life as it really was — a deliberate counterattack to the outlandish jive-talking hyper-violence of ’70s blaxploitation films like “Super Fly” and its countless imitators.\u003c/p>\n\u003cp>“We revolted so much. We didn’t want to see, respect any Euro-American cinema, even the good ones,” Gerima told an audience at New York’s New School of Media Studies during a retrospective of his work.\u003c/p>\n\u003cp>Gerima says the aim was to elevate, not denigrate African-American life and culture.\u003c/p>\n\u003cfigure id=\"attachment_10633180\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-killer-of-sheep_still-002lg_0.jpg\" alt=\"Charles Burnett's film "Killer of Sheep" is a landmark of the L.A. Rebellion shot in and around Watts in the early '70s.\" width=\"750\" height=\"500\" class=\"size-full wp-image-10633180\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-killer-of-sheep_still-002lg_0.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-killer-of-sheep_still-002lg_0-400x267.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Charles Burnett’s film “Killer of Sheep” is a landmark of the L.A. Rebellion shot in and around Watts in the early ’70s. \u003ccite>(UCLA Film & Television Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In the (UCLA) film school, we say if black people did jazz, what do they do in film? And so we were responding in a very critical way, saying these narrative devices that were racist for us,” Gerima says.\u003c/p>\n\u003cp>The integration of UCLA’s film school began in earnest during the Civil Rights and anti-war movements of the late 1960s, spurred on in the violent wake of the 1965 \u003ca href=\"https://www.youtube.com/watch?v=8zV9X-E6gc0\">Watts riots\u003c/a>, or “rebellion” as many people prefer to call the week of civil unrest.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘Everyone had to be some cool, slick jive mama…And I wanted to see something else.’\u003ccite>Filmmaker Julie Dash\u003c/cite>\u003c/aside>\n\u003cp>“And so it’s really the first generation of minority students at UCLA, and they were not necessarily welcomed,” Horak says.\u003c/p>\n\u003cp>He says what distinguished these filmmakers were a mix of radical politics and gritty street style.\u003c/p>\n\u003cp>“Students as well as professors at UCLA just were not used to seeing that type of content presented in that kind of way,” Horak says.\u003c/p>\n\u003cp>“We were not seen as normal,” laughs director \u003ca href=\"https://www.cinema.ucla.edu/la-rebellion/julie-dash\">Julie Dash\u003c/a>.\u003c/p>\n\u003cp>Dash, a New York native, arrived in California in the mid-1970s to pursue graduate studies at UCLA. She would go on to make a number of acclaimed films including 1991’s “Daughters of the Dust.” Dash says the filmmakers who made up L.A. Rebellion stood out for other reasons, too.\u003c/p>\n\u003cp>“Because we spent our lives on campus all the time, in sleeping bags, we just worked around the clock,” Dash says.\u003c/p>\n\u003cfigure id=\"attachment_10634116\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-Dash-DiaryAfricanNun-1977.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10634116\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-Dash-DiaryAfricanNun-1977.jpg\" width=\"750\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-Dash-DiaryAfricanNun-1977.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-Dash-DiaryAfricanNun-1977-400x267.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Los Angeles stands in for Uganda in Julie Dash’s 1977 short film “The Diary of an African Nun,” based on a short story by Alice Walker. \u003ccite>(UCLA Film & Television Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Either working on our personal films or someone else’s film, and we just found ourselves living pretty much on campus all the time,” Dash says.\u003c/p>\n\u003cp>And the way more senior student directors like Haile Gerima depicted black Los Angeles was a revelation to Dash.\u003c/p>\n\u003cp>“That was not the place that played in my mind when I thought of California, I thought of palm trees and everything you see on television, that narrative of life,” Dash says.\u003c/p>\n\u003cp>One of the most celebrated films to emerge from the L.A. Rebellion is Charles Burnett’s \u003ca href=\"https://www.youtube.com/watch?v=-nXw-8MXhVE\">“Killer of Sheep.”\u003c/a>\u003c/p>\n\u003cp>Burnett, influenced in part by post-War War II Italian neo-realist films that used war-torn cities as their backdrop, took a similar approach.\u003c/p>\n\u003cp>Shot in black and white, the story revolves around a slaughterhouse worker named Stan and his family. Their daily struggles unfold in the blue-collar homes, dusty vacant lots and the crooked alleyways of Watts.\u003c/p>\n\u003cp>Burnett, who went on to make a number of more commercial films like “The Glass Shield” and “To Sleep with Anger,” was unavailable for an interview.\u003c/p>\n\u003cp>But in the commentary from the long-awaited DVD release of “Killer of Sheep,” he talks about his time at UCLA.\u003c/p>\n\u003cp>“We were going to make a difference and introduce new narratives about the black experience and we were reacting against all the negative stereotypes that Hollywood continued to produce,” Burnett says. “You know, turn back to our own stories and try to tell them.”\u003c/p>\n\u003cfigure id=\"attachment_10634102\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10634102\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-800x533.jpg\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-1440x960.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from Charles Burnett’s 1973 short film “The Horse.” \u003ccite>(UCLA Film & Television Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aside from the occasional screening at a library or local theater, the films of L.A. Rebellion would go largely unseen off campus. A lot of the original prints would disappear into attics, garages and in one case, a backyard chicken coop in Compton.\u003c/p>\n\u003cp>“And we found it in the dirt at the very back of the shed after cleaning out for like a whole day,” laughs UCLA’s Christopher Horak.\u003c/p>\n\u003cp>In 2011, UCLA launched in initiative to track down and restore the film of the era.\u003c/p>\n\u003cp>That includes Julie Dash’s first student feature “Illusions,” shot on the UCLA campus.\u003c/p>\n\u003cp>It set the tone for the kind of films Dash would go on to make. Most famously, the critically acclaimed “Daughters of the Dust” — the first feature film directed by an African-American woman to get a major theatrical release and a story Dash was developing while still at UCLA.\u003c/p>\n\u003cp>“I just wanted to explore the culture of African-American women that I was not really seeing,” Dash says.\u003c/p>\n\u003cp>“Everyone had to be some cool, slick jive mama,” Dash laughs. “And I wanted to see something else.”\u003c/p>\n\u003cfigure id=\"attachment_10634103\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10634103\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-800x533.jpg\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-1440x960.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lonette McKee in Julie Dash’s 1982 student film “Illusions.” \u003ccite>(UCLA Film & Television Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite their limited exposure, films and filmmakers from L.A. Rebellion left an indelible mark on future black filmmakers like \u003ca href=\"http://www.openculture.com/2014/11/spike-lees-list-of-95-essential-movies.html\">Spike Lee\u003c/a> and John Singleton, both of whom acknowledge the influence of films like “Killer of Sheep” and “Daughters of the Dust.”\u003c/p>\n\u003cp>“The best work holds up really well and there were amazing discoveries we made in this whole process,” says Horak.\u003c/p>\n\u003cp>Many of the films from the L.A. Rebellion era will be included in a 25-DVD box set that will be distributed to schools, libraries and other institutions later this year along with a book published by University of California Press chronicling the movement.\u003c/p>\n\u003cp>“They were very meaningful and they continue to be meaningful,” Dash says. “They document a time period and they document very specific voices we had not seen or heard before. That’s why they’re like treasures.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Treasures that continue to be unearthed, literally dusted off and placed alongside some of the finest films of the era.\u003c/p>\n\n",
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"excerpt": "The first wave of black student filmmakers at UCLA were fiercely independent artists.",
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"title": "The L.A. Rebellion: How the Watts Riots Helped Spark a Cinematic Revolution | KQED",
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"headline": "The L.A. Rebellion: How the Watts Riots Helped Spark a Cinematic Revolution",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Haile Gerima’s 1975 student film \u003ca href=\"https://www.youtube.com/watch?v=Himxf4s_qgk\">“Bush Mama,”\u003c/a> the character T.C., played by actor Johnny Weathers, leans up against the bars of his jail cell and speaks directly to the camera.\u003c/p>\n\u003cp>“Now ya see this white boy,” says T.C. referring to a white guard.\u003c/p>\n\u003cp>“To guard niggers is within his blood,” says T.C., fingers wrapped tight around the cell bars.\u003c/p>\n\u003cp>“His roots is maybe ‘overseer,’ and we still the son of the slave. That’s what I inherited … all of us!”\u003c/p>\n\u003cfigure id=\"attachment_10633182\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"591\" class=\"wp-image-10633182 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-800x591.jpg\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-800x591.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-400x296.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-1440x1064.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-1180x872.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-BUSH-MAMA-CELL-960x710.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Johnny Weathers in a scene from from Haile Gerima’s film “Bush Mama” \u003ccite>(Haile Germia / Youtube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Bush Mama” is one of the landmark films to come out of the first wave of black student filmmakers at UCLA, a tightly knit band of experimental, ideological and fiercely independent artists known as the \u003ca href=\"https://www.cinema.ucla.edu/la-rebellion/story-la-rebellion\">L.A. Rebellion\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>They’d turn the riot-torn streets of Watts and other south L.A. communities into the real-life soundstage for work that bucked the Hollywood system.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/218278055″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/218278055″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In “Bush Mama,” a disillusioned Vietnam War veteran, T.C., is convicted of a crime he didn’t commit. And life at home is starting to unravel for his pregnant wife Dorothy.\u003c/p>\n\u003cp>Much of the film is told through their correspondence.\u003c/p>\n\u003cp>The film was largely improvisational. Scenes filmed on the streets of Watts were shot without permits.\u003c/p>\n\u003cp>“Everything was guerilla style, from getting the equipment out of UCLA to shooting without permits,” says UCLA Film & Television Archive Director Christopher Horak. “’Bush Mama’ opens with the police arresting the crew.”\u003c/p>\n\u003cp>Gerima said he and other young black filmmakers at UCLA wanted to make movies depicting African-American life as it really was — a deliberate counterattack to the outlandish jive-talking hyper-violence of ’70s blaxploitation films like “Super Fly” and its countless imitators.\u003c/p>\n\u003cp>“We revolted so much. We didn’t want to see, respect any Euro-American cinema, even the good ones,” Gerima told an audience at New York’s New School of Media Studies during a retrospective of his work.\u003c/p>\n\u003cp>Gerima says the aim was to elevate, not denigrate African-American life and culture.\u003c/p>\n\u003cfigure id=\"attachment_10633180\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-killer-of-sheep_still-002lg_0.jpg\" alt=\"Charles Burnett's film "Killer of Sheep" is a landmark of the L.A. Rebellion shot in and around Watts in the early '70s.\" width=\"750\" height=\"500\" class=\"size-full wp-image-10633180\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-killer-of-sheep_still-002lg_0.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-killer-of-sheep_still-002lg_0-400x267.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Charles Burnett’s film “Killer of Sheep” is a landmark of the L.A. Rebellion shot in and around Watts in the early ’70s. \u003ccite>(UCLA Film & Television Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In the (UCLA) film school, we say if black people did jazz, what do they do in film? And so we were responding in a very critical way, saying these narrative devices that were racist for us,” Gerima says.\u003c/p>\n\u003cp>The integration of UCLA’s film school began in earnest during the Civil Rights and anti-war movements of the late 1960s, spurred on in the violent wake of the 1965 \u003ca href=\"https://www.youtube.com/watch?v=8zV9X-E6gc0\">Watts riots\u003c/a>, or “rebellion” as many people prefer to call the week of civil unrest.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘Everyone had to be some cool, slick jive mama…And I wanted to see something else.’\u003ccite>Filmmaker Julie Dash\u003c/cite>\u003c/aside>\n\u003cp>“And so it’s really the first generation of minority students at UCLA, and they were not necessarily welcomed,” Horak says.\u003c/p>\n\u003cp>He says what distinguished these filmmakers were a mix of radical politics and gritty street style.\u003c/p>\n\u003cp>“Students as well as professors at UCLA just were not used to seeing that type of content presented in that kind of way,” Horak says.\u003c/p>\n\u003cp>“We were not seen as normal,” laughs director \u003ca href=\"https://www.cinema.ucla.edu/la-rebellion/julie-dash\">Julie Dash\u003c/a>.\u003c/p>\n\u003cp>Dash, a New York native, arrived in California in the mid-1970s to pursue graduate studies at UCLA. She would go on to make a number of acclaimed films including 1991’s “Daughters of the Dust.” Dash says the filmmakers who made up L.A. Rebellion stood out for other reasons, too.\u003c/p>\n\u003cp>“Because we spent our lives on campus all the time, in sleeping bags, we just worked around the clock,” Dash says.\u003c/p>\n\u003cfigure id=\"attachment_10634116\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-Dash-DiaryAfricanNun-1977.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10634116\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-Dash-DiaryAfricanNun-1977.jpg\" width=\"750\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-Dash-DiaryAfricanNun-1977.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-Dash-DiaryAfricanNun-1977-400x267.jpg 400w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Los Angeles stands in for Uganda in Julie Dash’s 1977 short film “The Diary of an African Nun,” based on a short story by Alice Walker. \u003ccite>(UCLA Film & Television Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Either working on our personal films or someone else’s film, and we just found ourselves living pretty much on campus all the time,” Dash says.\u003c/p>\n\u003cp>And the way more senior student directors like Haile Gerima depicted black Los Angeles was a revelation to Dash.\u003c/p>\n\u003cp>“That was not the place that played in my mind when I thought of California, I thought of palm trees and everything you see on television, that narrative of life,” Dash says.\u003c/p>\n\u003cp>One of the most celebrated films to emerge from the L.A. Rebellion is Charles Burnett’s \u003ca href=\"https://www.youtube.com/watch?v=-nXw-8MXhVE\">“Killer of Sheep.”\u003c/a>\u003c/p>\n\u003cp>Burnett, influenced in part by post-War War II Italian neo-realist films that used war-torn cities as their backdrop, took a similar approach.\u003c/p>\n\u003cp>Shot in black and white, the story revolves around a slaughterhouse worker named Stan and his family. Their daily struggles unfold in the blue-collar homes, dusty vacant lots and the crooked alleyways of Watts.\u003c/p>\n\u003cp>Burnett, who went on to make a number of more commercial films like “The Glass Shield” and “To Sleep with Anger,” was unavailable for an interview.\u003c/p>\n\u003cp>But in the commentary from the long-awaited DVD release of “Killer of Sheep,” he talks about his time at UCLA.\u003c/p>\n\u003cp>“We were going to make a difference and introduce new narratives about the black experience and we were reacting against all the negative stereotypes that Hollywood continued to produce,” Burnett says. “You know, turn back to our own stories and try to tell them.”\u003c/p>\n\u003cfigure id=\"attachment_10634102\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10634102\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-800x533.jpg\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-1440x960.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/LA-REBEL-TheHorse-1973-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from Charles Burnett’s 1973 short film “The Horse.” \u003ccite>(UCLA Film & Television Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Aside from the occasional screening at a library or local theater, the films of L.A. Rebellion would go largely unseen off campus. A lot of the original prints would disappear into attics, garages and in one case, a backyard chicken coop in Compton.\u003c/p>\n\u003cp>“And we found it in the dirt at the very back of the shed after cleaning out for like a whole day,” laughs UCLA’s Christopher Horak.\u003c/p>\n\u003cp>In 2011, UCLA launched in initiative to track down and restore the film of the era.\u003c/p>\n\u003cp>That includes Julie Dash’s first student feature “Illusions,” shot on the UCLA campus.\u003c/p>\n\u003cp>It set the tone for the kind of films Dash would go on to make. Most famously, the critically acclaimed “Daughters of the Dust” — the first feature film directed by an African-American woman to get a major theatrical release and a story Dash was developing while still at UCLA.\u003c/p>\n\u003cp>“I just wanted to explore the culture of African-American women that I was not really seeing,” Dash says.\u003c/p>\n\u003cp>“Everyone had to be some cool, slick jive mama,” Dash laughs. “And I wanted to see something else.”\u003c/p>\n\u003cfigure id=\"attachment_10634103\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10634103\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-800x533.jpg\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-1440x960.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/la-rebel-Lonette-McKEE-Illusions-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lonette McKee in Julie Dash’s 1982 student film “Illusions.” \u003ccite>(UCLA Film & Television Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite their limited exposure, films and filmmakers from L.A. Rebellion left an indelible mark on future black filmmakers like \u003ca href=\"http://www.openculture.com/2014/11/spike-lees-list-of-95-essential-movies.html\">Spike Lee\u003c/a> and John Singleton, both of whom acknowledge the influence of films like “Killer of Sheep” and “Daughters of the Dust.”\u003c/p>\n\u003cp>“The best work holds up really well and there were amazing discoveries we made in this whole process,” says Horak.\u003c/p>\n\u003cp>Many of the films from the L.A. Rebellion era will be included in a 25-DVD box set that will be distributed to schools, libraries and other institutions later this year along with a book published by University of California Press chronicling the movement.\u003c/p>\n\u003cp>“They were very meaningful and they continue to be meaningful,” Dash says. “They document a time period and they document very specific voices we had not seen or heard before. That’s why they’re like treasures.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Treasures that continue to be unearthed, literally dusted off and placed alongside some of the finest films of the era.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This ragtag Oakland storefront at 23rd Street and Telegraph Avenue was at the geographic center of the original \u003ca href=\"http://oaklandartmurmur.org/\" target=\"_blank\" rel=\"noopener\">Art Murmur\u003c/a> in 2006. It’s an all-in-one art gallery, classroom, clothing shop and activist meeting space. The volunteer-run collective operating \u003ca href=\"http://rpscollective.org/\" target=\"_blank\" rel=\"noopener\">Rock Paper Scissors\u003c/a> exemplifies the city’s social justice-seeking, DIY art and activism scene.\u003c/p>\n\u003cp>But with Oakland rents soaring, they’ve been priced out of their space. August’s will be the last \u003ca href=\"http://www.oaklandfirstfridays.org/\" target=\"_blank\" rel=\"noopener\">First Friday\u003c/a> street fair and Art Murmur gallery stroll for the collective — the last remaining organization of those that helped start the monthly festival almost a decade ago.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/218061535″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>On a recent East Bay summer evening, volunteers gathered inside the storefront to learn how to become pen pals with LGBTQ prisoners.\u003c/p>\n\u003cp>“It can get really complicated, because if someone’s legal name is John but they go by Jennifer, for instance, you have to put J or John on the outside of the envelope,” said Beja Alisheva, co-facilitator of \u003ca href=\"https://flyingoverwalls.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Flying Over Walls\u003c/a>, a queer/trans prisoner solidarity organization.\u003c/p>\n\u003cfigure id=\"attachment_10632273\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10632273 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128-800x513.jpg\" alt=\"Flying Over Walls volunteers gather at Rock Paper Scissors to write letters to LGBTQ prisoners.\" width=\"800\" height=\"513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128-400x257.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128-1440x924.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128-1180x757.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128-960x616.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128.jpg 1646w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Flying Over Walls volunteers gather at Rock Paper Scissors to write letters to LGBTQ prisoners. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are lots of rules about how the envelopes sent into prisons can be decorated, so they won’t be confiscated.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“No glitter?” Louis Smith asked incredulously.\u003c/p>\n\u003cp>The letter-writing get-together was just one of dozens of gatherings held at Rock Paper Scissors every month, ranging from writing workshops to a sewing lab and jewelry-making for teens.\u003c/p>\n\u003cp>“When we first came to Rock Paper Scissors looking for a space, they said of course,” Alisheva said. “Obviously, we don’t have a lot of money. It’s not something that brings in a lot of revenue, but that didn’t matter to them.”\u003c/p>\n\u003cp>She added: “It was such a relief when we finally landed here, so now we’re not sure where we’re going to end up.”\u003c/p>\n\u003cp>That’s a sentiment shared with the quirky, creative space’s regulars.\u003c/p>\n\u003cp>“Gentrification is real,” said Alexandra Rigaud, an assistant with the collective’s youth program. “We are getting pushed out, and we did start First Friday … Now we are paying for it.”\u003c/p>\n\u003cp>It’s becoming a common story all over the Bay Area. The artists who, in recent times, made a neighborhood “hip” are being driven out, in part due to their own success.\u003c/p>\n\u003cp>“The neighborhood has changed a lot,” said Kristi Holohan, the collective’s youth, community and interim gallery director. “We are basically like sandwiched in between two bars, there are some really high-end galleries.”\u003c/p>\n\u003cfigure id=\"attachment_10632275\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10632275 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut-800x450.jpg\" alt=\"The Rock Paper Scissors storefront on 23rd Street and Telegraph Avenue.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut-1440x810.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Rock Paper Scissors storefront on 23rd Street and Telegraph Avenue. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland Mayor Libby Schaaf said the plight of Rock Paper Scissors raises a much bigger question as the city continues to boom.\u003c/p>\n\u003cp>“It’s not just the housing affordability that is a potential crisis for us,” she said. “The threat of displacement of our small businesses, of our cultural institutions, of our nonprofits — those are also community stabilization issues that absolutely need to be solved.”\u003c/p>\n\u003cp>Schaaf said the city’s “solutions are more limited” because \u003ca href=\"http://www.leginfo.ca.gov/cgi-bin/displaycode?section=civ&group=01001-02000&file=1954.25-1954.31\" target=\"_blank\" rel=\"noopener\">state law prevents\u003c/a> rent stabilization for commercial space. The mayor said she’s creating a new Artist Affordable Housing and Workspace Task Force, but that’s yet to be staffed.\u003c/p>\n\u003cp>Anyka Barber, who founded \u003ca href=\"http://www.bettiono.com/\" target=\"_blank\" rel=\"noopener\">Betti Ono\u003c/a> gallery in downtown Oakland, said the city needs to do more.\u003c/p>\n\u003cp>“In order for it to continue to be a world-class city and build on the strengths that it has, especially around culture and arts, we really have to have the investment match the brand recognition,” she said.\u003c/p>\n\u003cp>Barber is a lead organizer of the \u003ca href=\"https://www.facebook.com/KeepOAKCreative\" target=\"_blank\" rel=\"noopener\">Oakland Creative Neighborhoods Coalition\u003c/a> — a newly formed group that’s calling for the re-establishment of Oakland’s Arts Commission, which had its funding and staff eliminated more than five years ago.\u003c/p>\n\u003cp>“There’s a lot of talk about the economic development side of arts experiences or cultural experiences, based on people visiting, what kinds of funds or revenues that brings back to the city,” Barber said. “Currently, it looks like maybe 1.3 percent of the total city budget is funding or investing in community development or cultural programs. That does not reflect equity.”\u003c/p>\n\u003cfigure id=\"attachment_10632276\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10632276 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut-800x450.jpg\" alt=\"The Rock Paper Scissors Collective's mission statement.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut-1440x810.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Rock Paper Scissors Collective’s mission statement. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The coalition’s demands were left out of the recently adopted 2016-17 city budget.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rock Paper Scissors, meanwhile, has until the end of the month to find a new space or close up shop and try to raise more money. The collective is seeking volunteers to \u003ca href=\"http://rpscollective.org/help-rock-paper-scissors-pack-and-move/\" target=\"_blank\" rel=\"noopener\">help pack up and move\u003c/a> to a yet-to-be-determined location.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This ragtag Oakland storefront at 23rd Street and Telegraph Avenue was at the geographic center of the original \u003ca href=\"http://oaklandartmurmur.org/\" target=\"_blank\" rel=\"noopener\">Art Murmur\u003c/a> in 2006. It’s an all-in-one art gallery, classroom, clothing shop and activist meeting space. The volunteer-run collective operating \u003ca href=\"http://rpscollective.org/\" target=\"_blank\" rel=\"noopener\">Rock Paper Scissors\u003c/a> exemplifies the city’s social justice-seeking, DIY art and activism scene.\u003c/p>\n\u003cp>But with Oakland rents soaring, they’ve been priced out of their space. August’s will be the last \u003ca href=\"http://www.oaklandfirstfridays.org/\" target=\"_blank\" rel=\"noopener\">First Friday\u003c/a> street fair and Art Murmur gallery stroll for the collective — the last remaining organization of those that helped start the monthly festival almost a decade ago.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/218061535″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/218061535″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>On a recent East Bay summer evening, volunteers gathered inside the storefront to learn how to become pen pals with LGBTQ prisoners.\u003c/p>\n\u003cp>“It can get really complicated, because if someone’s legal name is John but they go by Jennifer, for instance, you have to put J or John on the outside of the envelope,” said Beja Alisheva, co-facilitator of \u003ca href=\"https://flyingoverwalls.wordpress.com/\" target=\"_blank\" rel=\"noopener\">Flying Over Walls\u003c/a>, a queer/trans prisoner solidarity organization.\u003c/p>\n\u003cfigure id=\"attachment_10632273\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10632273 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128-800x513.jpg\" alt=\"Flying Over Walls volunteers gather at Rock Paper Scissors to write letters to LGBTQ prisoners.\" width=\"800\" height=\"513\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128-800x513.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128-400x257.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128-1440x924.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128-1180x757.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128-960x616.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16278_group-around-table-qut-e1438908707128.jpg 1646w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Flying Over Walls volunteers gather at Rock Paper Scissors to write letters to LGBTQ prisoners. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are lots of rules about how the envelopes sent into prisons can be decorated, so they won’t be confiscated.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“No glitter?” Louis Smith asked incredulously.\u003c/p>\n\u003cp>The letter-writing get-together was just one of dozens of gatherings held at Rock Paper Scissors every month, ranging from writing workshops to a sewing lab and jewelry-making for teens.\u003c/p>\n\u003cp>“When we first came to Rock Paper Scissors looking for a space, they said of course,” Alisheva said. “Obviously, we don’t have a lot of money. It’s not something that brings in a lot of revenue, but that didn’t matter to them.”\u003c/p>\n\u003cp>She added: “It was such a relief when we finally landed here, so now we’re not sure where we’re going to end up.”\u003c/p>\n\u003cp>That’s a sentiment shared with the quirky, creative space’s regulars.\u003c/p>\n\u003cp>“Gentrification is real,” said Alexandra Rigaud, an assistant with the collective’s youth program. “We are getting pushed out, and we did start First Friday … Now we are paying for it.”\u003c/p>\n\u003cp>It’s becoming a common story all over the Bay Area. The artists who, in recent times, made a neighborhood “hip” are being driven out, in part due to their own success.\u003c/p>\n\u003cp>“The neighborhood has changed a lot,” said Kristi Holohan, the collective’s youth, community and interim gallery director. “We are basically like sandwiched in between two bars, there are some really high-end galleries.”\u003c/p>\n\u003cfigure id=\"attachment_10632275\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10632275 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut-800x450.jpg\" alt=\"The Rock Paper Scissors storefront on 23rd Street and Telegraph Avenue.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut-1440x810.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16281_RPS-storefront-qut-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Rock Paper Scissors storefront on 23rd Street and Telegraph Avenue. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland Mayor Libby Schaaf said the plight of Rock Paper Scissors raises a much bigger question as the city continues to boom.\u003c/p>\n\u003cp>“It’s not just the housing affordability that is a potential crisis for us,” she said. “The threat of displacement of our small businesses, of our cultural institutions, of our nonprofits — those are also community stabilization issues that absolutely need to be solved.”\u003c/p>\n\u003cp>Schaaf said the city’s “solutions are more limited” because \u003ca href=\"http://www.leginfo.ca.gov/cgi-bin/displaycode?section=civ&group=01001-02000&file=1954.25-1954.31\" target=\"_blank\" rel=\"noopener\">state law prevents\u003c/a> rent stabilization for commercial space. The mayor said she’s creating a new Artist Affordable Housing and Workspace Task Force, but that’s yet to be staffed.\u003c/p>\n\u003cp>Anyka Barber, who founded \u003ca href=\"http://www.bettiono.com/\" target=\"_blank\" rel=\"noopener\">Betti Ono\u003c/a> gallery in downtown Oakland, said the city needs to do more.\u003c/p>\n\u003cp>“In order for it to continue to be a world-class city and build on the strengths that it has, especially around culture and arts, we really have to have the investment match the brand recognition,” she said.\u003c/p>\n\u003cp>Barber is a lead organizer of the \u003ca href=\"https://www.facebook.com/KeepOAKCreative\" target=\"_blank\" rel=\"noopener\">Oakland Creative Neighborhoods Coalition\u003c/a> — a newly formed group that’s calling for the re-establishment of Oakland’s Arts Commission, which had its funding and staff eliminated more than five years ago.\u003c/p>\n\u003cp>“There’s a lot of talk about the economic development side of arts experiences or cultural experiences, based on people visiting, what kinds of funds or revenues that brings back to the city,” Barber said. “Currently, it looks like maybe 1.3 percent of the total city budget is funding or investing in community development or cultural programs. That does not reflect equity.”\u003c/p>\n\u003cfigure id=\"attachment_10632276\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10632276 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut-800x450.jpg\" alt=\"The Rock Paper Scissors Collective's mission statement.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut-1440x810.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2015/08/RS16279_RPS-mission-statement-qut-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Rock Paper Scissors Collective’s mission statement. \u003ccite>(Andrew Stelzer/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The coalition’s demands were left out of the recently adopted 2016-17 city budget.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rock Paper Scissors, meanwhile, has until the end of the month to find a new space or close up shop and try to raise more money. The collective is seeking volunteers to \u003ca href=\"http://rpscollective.org/help-rock-paper-scissors-pack-and-move/\" target=\"_blank\" rel=\"noopener\">help pack up and move\u003c/a> to a yet-to-be-determined location.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Songs like \"We Shall Overcome\" became part of a soundtrack for the civil rights movement. Prince’s “Baltimore” was inspired by police violence against African-Americans earlier this year. Other historical moments, wars and disasters have created signature sounds. And our state’s historic drought has inspired a new sound: drought music.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/217265559\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>Joseph Costa and Martina Otterbeck of the band \u003ca href=\"http://www.terrabellaofficial.com/band.html\">Terra Bella\u003c/a> are a husband-and-wife duo from the Central Valley, but they now live in Nashville.\u003c/p>\n\u003cp>The two have deep roots in Central California. A phone call from Costa’s father -- a corn and cotton farmer near Visalia -- inspired the song \"Drought.\"\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/SNev-eTg764?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The story of the song is a father calling his son and saying things aren’t looking good, the well's running out of water,” Costa explains.\u003c/p>\n\u003cp>Drying wells at farms and private homes in Central California is commonplace. In Southern California, conversation about the slow disaster sounds different.\u003c/p>\n\u003cp>[contextly_sidebar id=\"EP5McgAsOCJtUTxit2gP40ZyCtaBzMSt\"]\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/deapvally\">Deap Vally\u003c/a> is a heavy rock-and-roll band from Los Angeles -- Julie Edwards on drums and vocals and Lindsey Troy on guitar and vocals. They’ve performed around the globe at music festivals with acts like Iggy Pop and Dinosaur Junior. They wrote \"Drought\" in 2012, reflecting on the drought in the San Fernando Valley.\u003c/p>\n\u003cp>\u003ca href=\"http://https://www.youtube.com/watch?v=egETEGzBlCM\">http://https://www.youtube.com/watch?v=egETEGzBlCM\u003c/a>\u003c/p>\n\u003cp>They remember hot summers, popsicles, running through sprinklers and drought ads in the 1980s and '90s. From their perspective, Los Angeles has been coping with a perpetual drought.\u003c/p>\n\u003cp>“We took the backdrop of a drought,” says Edwards. “Rather than focus on the restrictions of it, we wanted to play with it. But we were making kind of a sultry, swampy, hot, sweaty, sexy song.”\u003c/p>\n\u003cp>The drought has even inspired a piece of classical music. Fresno State music professor Benjamin Boone wrote “Water(less) Music” earlier this year.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SMBzNtzAsYw&feature=youtu.be\u003c/p>\n\u003cp>\u003ca href=\"http://www.benjaminboone.com/\">Boone\u003c/a> wove a narrative about water and drought with recordings of former U.S Poet Laureate Philip Levine, who died in February, and then composed orchestral music around that narrative. In the symphony, two 44-quart bowls are played as instruments. There are thunderstorms, and at times just the faint trickle of water.\u003c/p>\n\u003cp>“The water at the beginning is coming down really steadily,” Boone explains. “At the very end, when they’re holding up water bowls with drips, it’s just barely dripping, and you don’t know when it’s going to run out or if it’s going to run out. It’s beautiful, but in a bittersweet way after hearing thunderstorms and hearing raindrops.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In these hot and dry days, it can feel like we’ll never see rain again. So just maybe, this summer will bring even more songs about the drought in the West.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Songs like \"We Shall Overcome\" became part of a soundtrack for the civil rights movement. Prince’s “Baltimore” was inspired by police violence against African-Americans earlier this year. Other historical moments, wars and disasters have created signature sounds. And our state’s historic drought has inspired a new sound: drought music.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/217265559&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/217265559'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Joseph Costa and Martina Otterbeck of the band \u003ca href=\"http://www.terrabellaofficial.com/band.html\">Terra Bella\u003c/a> are a husband-and-wife duo from the Central Valley, but they now live in Nashville.\u003c/p>\n\u003cp>The two have deep roots in Central California. A phone call from Costa’s father -- a corn and cotton farmer near Visalia -- inspired the song \"Drought.\"\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/SNev-eTg764?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The story of the song is a father calling his son and saying things aren’t looking good, the well's running out of water,” Costa explains.\u003c/p>\n\u003cp>Drying wells at farms and private homes in Central California is commonplace. In Southern California, conversation about the slow disaster sounds different.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/deapvally\">Deap Vally\u003c/a> is a heavy rock-and-roll band from Los Angeles -- Julie Edwards on drums and vocals and Lindsey Troy on guitar and vocals. They’ve performed around the globe at music festivals with acts like Iggy Pop and Dinosaur Junior. They wrote \"Drought\" in 2012, reflecting on the drought in the San Fernando Valley.\u003c/p>\n\u003cp>\u003ca href=\"http://https://www.youtube.com/watch?v=egETEGzBlCM\">http://https://www.youtube.com/watch?v=egETEGzBlCM\u003c/a>\u003c/p>\n\u003cp>They remember hot summers, popsicles, running through sprinklers and drought ads in the 1980s and '90s. From their perspective, Los Angeles has been coping with a perpetual drought.\u003c/p>\n\u003cp>“We took the backdrop of a drought,” says Edwards. “Rather than focus on the restrictions of it, we wanted to play with it. But we were making kind of a sultry, swampy, hot, sweaty, sexy song.”\u003c/p>\n\u003cp>The drought has even inspired a piece of classical music. Fresno State music professor Benjamin Boone wrote “Water(less) Music” earlier this year.\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/SMBzNtzAsYw'\n title='//www.youtube.com/embed/SMBzNtzAsYw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"http://www.benjaminboone.com/\">Boone\u003c/a> wove a narrative about water and drought with recordings of former U.S Poet Laureate Philip Levine, who died in February, and then composed orchestral music around that narrative. In the symphony, two 44-quart bowls are played as instruments. There are thunderstorms, and at times just the faint trickle of water.\u003c/p>\n\u003cp>“The water at the beginning is coming down really steadily,” Boone explains. “At the very end, when they’re holding up water bowls with drips, it’s just barely dripping, and you don’t know when it’s going to run out or if it’s going to run out. It’s beautiful, but in a bittersweet way after hearing thunderstorms and hearing raindrops.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In these hot and dry days, it can feel like we’ll never see rain again. So just maybe, this summer will bring even more songs about the drought in the West.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s never too late for a great jazz musician to step into the spotlight. In recent years, drummer \u003ca href=\"https://en.wikipedia.org/wiki/Albert_Heath\">Albert “Tootie” Heath\u003c/a> has finally gained the recognition commensurate with the esteem he’s long inspired among his peers.\u003c/p>\n\u003cp>The recent reissue of his second album as a leader, \"Kwanza\" (Xanadu) , helps fill out the creative profile of a musician who’s still going strong at 80.\u003c/p>\n\u003cp>Recorded in the spring of 1973, \"Kwanza\" captures a mid-career master with a long-established reputation as one of the most eloquent and adaptable drummers in jazz. Ever since making his recording debut on tenor saxophonist John Coltrane’s first solo record in 1957, he’d provided supple and unfailingly tasteful support for a series of classic albums by now legendary artists like guitarist \u003ca href=\"https://en.wikipedia.org/wiki/Wes_Montgomery\">Wes Montgomery\u003c/a>, tenor saxophonist Dexter Gordon and vibraphonist Milt Jackson.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/217265791\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>He wasn’t forgotten during a four-year stint in Sweden, but when Heath moved back to the U.S. in 1969 he found fewer opportunities to record. With the chance to make \"Kwanza,\" a rare project of his own, Heath wasn’t content to organize an all-star jam session. He’d been collaborating and studying composition with multi-instrumental explorer \u003ca href=\"http://www.yuseflateef.com\">Yusef Lateef\u003c/a>, and he used \"Kwanza\" to investigate some of the chamber music concepts he’d been working on, like “A Notion,” a serene soundscape with a folk-like melody rendered beautifully on flute by Jimmy Heath.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Philadelphia-raised Heaths -- 88-year-old saxophonist/composer and NEA jazz master Jimmy and the late Percy, bassist for the Modern Jazz Quartet -- make up one of the most illustrious clans in jazz. \"Kwanza\" marks the first time the three siblings recorded together, anticipating their prolific output as the Heath Brothers.\u003c/p>\n\u003cp>Tootie seems determined to make the album a family affair. He dedicates his urgent and jagged “Dr. JEH” to Jimmy, who plays some lithesome soprano sax, and includes \"Oops!,\" a joyous blues piece by Percy that is the first tune by the bassist ever recorded. The Heaths sound like they’re having a ball, with Tootie’s soft-shoe brushwork dancing behind, beside and around his brothers’ flute and bass.\u003c/p>\n\u003cp>Joining the brothers are trombonist Curtis Fuller, guitarist Ted Dunbar and pianist Kenny Barron. Everyone gets a chance to stretch out on the album’s longest track, a 10-minute sinuous slow blues “Sub-Set” that features some particularly meaty tenor by Jimmy.\u003c/p>\n\u003cp>The only thing that marks the album as dated is when Barron trades his piano for an electric piano, an instrument with a bright timbre that doesn’t always fit the proceedings (the CD adds a solo Barron piece, “Wazuri Blues,” recorded some eight years after \"Kwanza\" that’s timeless).\u003c/p>\n\u003cp>One reason why Heath flew under the jazz press radar for so long is that he’s been based in Los Angeles since 1974, quietly contributing one potent performance after another. That started to change a few years ago when much younger musicians made a point of seeking him out.\u003c/p>\n\u003cp>Bassist Ben Street and Ethan Iverson, pianist for The Bad Plus, have recorded two excellent albums showcasing Heath, \"Tootie’s Tempo\" and \"\u003ca href=\"http://sunnysidezone.com/album/philadelphia-beat\">Philadelphia Beat\u003c/a>\" (both on Sunnyside). And L.A. pianist \u003ca href=\"http://richardsearsmusic.com\">Richard Sears\u003c/a> recently recorded a brilliant suite he composed for Heath, designed to let the drummer work in rhythmic territory far beyond the hard bop grooves for which he’s known.\u003c/p>\n\u003cp>\"Kwanza\" is finally resurfacing as part of a reissue series bringing to light albums released on the indie label Xanadu, which documented some of L.A.’s overlooked masters in the 1970s (\u003ca href=\"http://www.npr.org/2015/07/27/426737387/new-release-features-jazz-flutist-sam-mosts-breathy-punchy-sound\">Kevin Whitehead\u003c/a> recently reviewed the late L.A. flutist Sam Most’s Xanadu reissue \"From the Attic of My Mind \").\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The work of a well-traveled veteran still eager to explore new ideas, \"Kwanza\" offers a fresh look at Heath as percussion maestro and as a composer.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Philadelphia-raised Heaths -- 88-year-old saxophonist/composer and NEA jazz master Jimmy and the late Percy, bassist for the Modern Jazz Quartet -- make up one of the most illustrious clans in jazz. \"Kwanza\" marks the first time the three siblings recorded together, anticipating their prolific output as the Heath Brothers.\u003c/p>\n\u003cp>Tootie seems determined to make the album a family affair. He dedicates his urgent and jagged “Dr. JEH” to Jimmy, who plays some lithesome soprano sax, and includes \"Oops!,\" a joyous blues piece by Percy that is the first tune by the bassist ever recorded. The Heaths sound like they’re having a ball, with Tootie’s soft-shoe brushwork dancing behind, beside and around his brothers’ flute and bass.\u003c/p>\n\u003cp>Joining the brothers are trombonist Curtis Fuller, guitarist Ted Dunbar and pianist Kenny Barron. Everyone gets a chance to stretch out on the album’s longest track, a 10-minute sinuous slow blues “Sub-Set” that features some particularly meaty tenor by Jimmy.\u003c/p>\n\u003cp>The only thing that marks the album as dated is when Barron trades his piano for an electric piano, an instrument with a bright timbre that doesn’t always fit the proceedings (the CD adds a solo Barron piece, “Wazuri Blues,” recorded some eight years after \"Kwanza\" that’s timeless).\u003c/p>\n\u003cp>One reason why Heath flew under the jazz press radar for so long is that he’s been based in Los Angeles since 1974, quietly contributing one potent performance after another. That started to change a few years ago when much younger musicians made a point of seeking him out.\u003c/p>\n\u003cp>Bassist Ben Street and Ethan Iverson, pianist for The Bad Plus, have recorded two excellent albums showcasing Heath, \"Tootie’s Tempo\" and \"\u003ca href=\"http://sunnysidezone.com/album/philadelphia-beat\">Philadelphia Beat\u003c/a>\" (both on Sunnyside). And L.A. pianist \u003ca href=\"http://richardsearsmusic.com\">Richard Sears\u003c/a> recently recorded a brilliant suite he composed for Heath, designed to let the drummer work in rhythmic territory far beyond the hard bop grooves for which he’s known.\u003c/p>\n\u003cp>\"Kwanza\" is finally resurfacing as part of a reissue series bringing to light albums released on the indie label Xanadu, which documented some of L.A.’s overlooked masters in the 1970s (\u003ca href=\"http://www.npr.org/2015/07/27/426737387/new-release-features-jazz-flutist-sam-mosts-breathy-punchy-sound\">Kevin Whitehead\u003c/a> recently reviewed the late L.A. flutist Sam Most’s Xanadu reissue \"From the Attic of My Mind \").\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The work of a well-traveled veteran still eager to explore new ideas, \"Kwanza\" offers a fresh look at Heath as percussion maestro and as a composer.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Black Love Festival Engages More Young People in Black Lives Matter",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> group of organizers is engaging more young people in the Black Lives Matter movement through art, music and love. It's been two years since Alicia Garza and Patrisse Cullors introduced the hashtag #BlackLivesMatter -- on the night George Zimmerman was acquitted for Trayvon Martin’s murder -- and eventually gave birth to a movement with co-founder Opal Tometi.\u003c/p>\n\u003cp>Since then, it has grown through social media, connecting a new generation of organizers. Three of them put on the first annual \u003ca href=\"http://blacklovefestival.tumblr.com/\">Black Love Festival\u003c/a> in San Francisco’s Bayview-Hunters Point on July 18.\u003c/p>\n\u003cp>The idea of Black Love is more complex and less hippie-dippie than you might think. It’s a celebration of love as a form of liberation, resistance and unity -- three themes that run deep in African-American culture. Amir \"Keez\" Shabazz is among the 400 or so black folks -- mostly students, young professionals, and creative types -- who came to enjoy an afternoon of arts and culture at Heron's Head Park.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/217041811&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Shabazz explains what black love means to him. \"'I’m here, I got your back and I love what you’re doing' is black love,\" he says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he organizers chose Bayview-Hunters Point for the festival because they wanted young people to help reclaim San Francisco's historically African-American neighborhood and come together in a positive environment focused on self-care, self-healing and respect. Organizer China Pharr says everyone has a part to play in this movement.\u003c/p>\n\u003cp>\"You don’t have to be a leader or some politician,\" she says. \"You don’t have to be any of that. If you can draw, if you can write, if you can act, if you can sing, if you can clean houses, it doesn’t matter.\"\u003c/p>\n\u003cfigure id=\"attachment_10621214\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_3952-e1438197790501.jpg\">\u003cimg class=\"wp-image-10621214 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_3952-e1438197790501-400x533.jpg\" alt=\"Black Love Festival organizers (L to R): Etecia Brown, 25, Leigh Davenport, 30 and China Pharr, 24 (Adizah Eghan/KQED). \" width=\"400\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-1920x2560.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-960x1280.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Black Love Festival organizers (L to R): Etecia Brown, 25, Leigh Davenport, 30, and China Pharr, 24 (Adizah Eghan/KQED).\u003c/figcaption>\u003c/figure>\n\u003cp>Pharr and her fellow organizers, Etecia Brown and Leigh Davenport, met through the network of Black Lives Matter organizers, on Facebook. The idea for the Black Love Festival came from two problems they frequently encountered.\u003c/p>\n\u003cp>First, there are few black people left in San Francisco, where Leigh Davenport lives. She says, \"It’s palpable, it’s really palpable, the dwindling population,\" which is down to about 5 percent, half of what it was 20 years ago.\u003c/p>\n\u003cp>Second, not everyone feels comfortable demonstrating in the streets. \"We’ve had about five different events, and we’ve found that there wasn’t enough young people attending,\" Brown says. \"We were looking for people between the ages of 13 and 30.\"\u003c/p>\n\u003cp>So they tried a new strategy: They would get young black people to network and come to San Francisco for an arts and culture festival that was part creativity and part activism.\u003c/p>\n\u003cp>\"A big thing that’s happened in the black community in America is we have become ashamed of ourselves,\" Pharr says. \"I think when you see all this criminalization in the media, and you see all these representations of us, that we’re kind of afraid to be ourselves and celebrate ourselves.\"\u003c/p>\n\u003cp>All three of the women sit barefoot at a table in Brown's mother's apartment, not too far from where the festival took place. They've spent months trying to figure out the best way make this festival happen. The message of Black Love isn’t to shame people for not being at protests. Instead, it's to help a new generation heal.\u003c/p>\n\u003cp>The media are loaded with videos and stories of young people of color who are killed by the police. Pharr points to the \u003ca href=\"http://www.nytimes.com/interactive/2015/07/23/us/23blandlisty.html?_r=0\" target=\"_blank\">July 13 death of Sandra Bland\u003c/a>, who was pulled over for not putting on her turn signal while driving in Texas.\u003c/p>\n\u003cp> \"She was found hanging in a jail cell, and she was a college graduate just like me,\" she says. \"Moved to find a new job, just like me.\"\u003c/p>\n\u003cp>It becomes overwhelming, she adds: \"You kind of feel like there’s no end in sight sometimes. You kind of feel like, is it ever going to end? Are we ever going to stop being murdered? ... Some days I’m so happy that I was born with this beautiful melanin, and then some days I feel like it’s a blessing and a curse.\"\u003c/p>\n\u003cp>https://youtu.be/o1pmfsRCCSo\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>hese feelings certainly aren't new, says \u003ca href=\"http://www.obatshaka.com/home\">Oba T'Shaka\u003c/a>, who has participated in various forms of resistance, starting with the civil rights movement in San Francisco in the '60s.\u003c/p>\n\u003cp>\"A lot of our youth are experiencing what we experienced, which is anger and disturbance at seeing our people oppressed,\" he says. In the '60s it was social and economic oppression. Today it's police oppression, he says.\u003c/p>\n\u003cp> \"The '60s produced a restructuring of the black mind, not for all blacks,\" T'Shaka says. \"In fact, our movements failed to systematize that.\"\u003c/p>\n\u003cp>The restructuring of the black mind is hard to put into words, but it’s happening with Black Lives Matter, he says. It's an awakening process similar to when a caterpillar becomes a butterfly. Once people become critically aware of the oppression around them, they start an awakening process and seek to heal from race-based trauma.\u003c/p>\n\u003cp>\"People realize that they have been hoodwinked. Some who had been involved in gangster behavior, gang-banging, realize that they’ve been gang-banging against the people who they’re supposed to be engaged in the struggle to liberate,\" T'Shaka says. \"And others who may have been involved in middle-class behavior and escapism, they begin to think about the collective and about the whole.\"\u003c/p>\n\u003cp>It's the moment Spike Lee alludes to in his films, like in the infamous \"Wake Up\" scene at the end of \"School Daze,\" when Laurence Fishburne's character, Dap, screams, \"WAAAAAAAAKE UP!\" as dreamy music builds and his fellow classmates gather in front of him. He's calling on his fellow classmates to wake up and undergo the awakening process.\u003c/p>\n\u003cp>The point, says T'Shaka, is that for self-love to happen, black Americans have always needed to embrace their African and African-American roots, sparking a deep transformation that builds collective \"leaderful\" movements like Black Lives Matter and Black Love.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"800\" height=\"450\" src=\"https://www.youtube.com/embed/Lg8Oq_Sd3Bw\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> group of organizers is engaging more young people in the Black Lives Matter movement through art, music and love. It's been two years since Alicia Garza and Patrisse Cullors introduced the hashtag #BlackLivesMatter -- on the night George Zimmerman was acquitted for Trayvon Martin’s murder -- and eventually gave birth to a movement with co-founder Opal Tometi.\u003c/p>\n\u003cp>Since then, it has grown through social media, connecting a new generation of organizers. Three of them put on the first annual \u003ca href=\"http://blacklovefestival.tumblr.com/\">Black Love Festival\u003c/a> in San Francisco’s Bayview-Hunters Point on July 18.\u003c/p>\n\u003cp>The idea of Black Love is more complex and less hippie-dippie than you might think. It’s a celebration of love as a form of liberation, resistance and unity -- three themes that run deep in African-American culture. Amir \"Keez\" Shabazz is among the 400 or so black folks -- mostly students, young professionals, and creative types -- who came to enjoy an afternoon of arts and culture at Heron's Head Park.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/217041811&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Shabazz explains what black love means to him. \"'I’m here, I got your back and I love what you’re doing' is black love,\" he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he organizers chose Bayview-Hunters Point for the festival because they wanted young people to help reclaim San Francisco's historically African-American neighborhood and come together in a positive environment focused on self-care, self-healing and respect. Organizer China Pharr says everyone has a part to play in this movement.\u003c/p>\n\u003cp>\"You don’t have to be a leader or some politician,\" she says. \"You don’t have to be any of that. If you can draw, if you can write, if you can act, if you can sing, if you can clean houses, it doesn’t matter.\"\u003c/p>\n\u003cfigure id=\"attachment_10621214\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_3952-e1438197790501.jpg\">\u003cimg class=\"wp-image-10621214 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_3952-e1438197790501-400x533.jpg\" alt=\"Black Love Festival organizers (L to R): Etecia Brown, 25, Leigh Davenport, 30 and China Pharr, 24 (Adizah Eghan/KQED). \" width=\"400\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-1920x2560.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_3952-e1438197790501-960x1280.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Black Love Festival organizers (L to R): Etecia Brown, 25, Leigh Davenport, 30, and China Pharr, 24 (Adizah Eghan/KQED).\u003c/figcaption>\u003c/figure>\n\u003cp>Pharr and her fellow organizers, Etecia Brown and Leigh Davenport, met through the network of Black Lives Matter organizers, on Facebook. The idea for the Black Love Festival came from two problems they frequently encountered.\u003c/p>\n\u003cp>First, there are few black people left in San Francisco, where Leigh Davenport lives. She says, \"It’s palpable, it’s really palpable, the dwindling population,\" which is down to about 5 percent, half of what it was 20 years ago.\u003c/p>\n\u003cp>Second, not everyone feels comfortable demonstrating in the streets. \"We’ve had about five different events, and we’ve found that there wasn’t enough young people attending,\" Brown says. \"We were looking for people between the ages of 13 and 30.\"\u003c/p>\n\u003cp>So they tried a new strategy: They would get young black people to network and come to San Francisco for an arts and culture festival that was part creativity and part activism.\u003c/p>\n\u003cp>\"A big thing that’s happened in the black community in America is we have become ashamed of ourselves,\" Pharr says. \"I think when you see all this criminalization in the media, and you see all these representations of us, that we’re kind of afraid to be ourselves and celebrate ourselves.\"\u003c/p>\n\u003cp>All three of the women sit barefoot at a table in Brown's mother's apartment, not too far from where the festival took place. They've spent months trying to figure out the best way make this festival happen. The message of Black Love isn’t to shame people for not being at protests. Instead, it's to help a new generation heal.\u003c/p>\n\u003cp>The media are loaded with videos and stories of young people of color who are killed by the police. Pharr points to the \u003ca href=\"http://www.nytimes.com/interactive/2015/07/23/us/23blandlisty.html?_r=0\" target=\"_blank\">July 13 death of Sandra Bland\u003c/a>, who was pulled over for not putting on her turn signal while driving in Texas.\u003c/p>\n\u003cp> \"She was found hanging in a jail cell, and she was a college graduate just like me,\" she says. \"Moved to find a new job, just like me.\"\u003c/p>\n\u003cp>It becomes overwhelming, she adds: \"You kind of feel like there’s no end in sight sometimes. You kind of feel like, is it ever going to end? Are we ever going to stop being murdered? ... Some days I’m so happy that I was born with this beautiful melanin, and then some days I feel like it’s a blessing and a curse.\"\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/o1pmfsRCCSo'\n title='//www.youtube.com/embed/o1pmfsRCCSo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>hese feelings certainly aren't new, says \u003ca href=\"http://www.obatshaka.com/home\">Oba T'Shaka\u003c/a>, who has participated in various forms of resistance, starting with the civil rights movement in San Francisco in the '60s.\u003c/p>\n\u003cp>\"A lot of our youth are experiencing what we experienced, which is anger and disturbance at seeing our people oppressed,\" he says. In the '60s it was social and economic oppression. Today it's police oppression, he says.\u003c/p>\n\u003cp> \"The '60s produced a restructuring of the black mind, not for all blacks,\" T'Shaka says. \"In fact, our movements failed to systematize that.\"\u003c/p>\n\u003cp>The restructuring of the black mind is hard to put into words, but it’s happening with Black Lives Matter, he says. It's an awakening process similar to when a caterpillar becomes a butterfly. Once people become critically aware of the oppression around them, they start an awakening process and seek to heal from race-based trauma.\u003c/p>\n\u003cp>\"People realize that they have been hoodwinked. Some who had been involved in gangster behavior, gang-banging, realize that they’ve been gang-banging against the people who they’re supposed to be engaged in the struggle to liberate,\" T'Shaka says. \"And others who may have been involved in middle-class behavior and escapism, they begin to think about the collective and about the whole.\"\u003c/p>\n\u003cp>It's the moment Spike Lee alludes to in his films, like in the infamous \"Wake Up\" scene at the end of \"School Daze,\" when Laurence Fishburne's character, Dap, screams, \"WAAAAAAAAKE UP!\" as dreamy music builds and his fellow classmates gather in front of him. He's calling on his fellow classmates to wake up and undergo the awakening process.\u003c/p>\n\u003cp>The point, says T'Shaka, is that for self-love to happen, black Americans have always needed to embrace their African and African-American roots, sparking a deep transformation that builds collective \"leaderful\" movements like Black Lives Matter and Black Love.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "New Music for Summer: Dawn Oberg, Miguel, The Bird and The Bee",
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"headTitle": "The California Report | KQED News",
"content": "\u003cp>Dawn Oberg’s combo of tuneful wit and sharply literate observations evokes the old Algonquin. The Bird and the Bee draws on bubbly pop from more than 30 years ago. And Miguel pays homage to some heroes of his youth more than two decades ago. And yet, with their richly creative new albums, all three make statements very much in, and of, the moment.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/216226221\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>\u003cstrong>Dawn Oberg,\u003cem> Bring\u003c/em> (Blossom Theory)\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS16120_Bring_package-qut.jpg\">\u003cimg class=\"alignleft size-thumbnail wp-image-10613067\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS16120_Bring_package-qut-400x400.jpg\" alt=\"Dawn Oberg's "Bring"\" width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-1440x1440.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-1400x1400.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut.jpg 1500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003ca href=\"http://www.dawnoberg.com/\" target=\"_blank\">Dawn Oberg \u003c/a>has a bunch of wry songs, and on her last album at least one \"Rye\" song. “Martini Geometry” from her new album, \"Bring,\" is a gin-and-vermouth song. And it’s just the tip of the designer ice cube of saloon culture chronicled. Heck, on “Bartender,” she declares the ’keep as “my partner in crime, in killing all my time” and no less than “my best remedy.”\u003c/p>\n\u003cp>Well, and there’s the distinction and the context. She’s not just killing time, she’s looking for a cure for … well, listen to the songs. But mostly she seeks ways out of aimlessness and uncertainty as she navigates life both inside and, more so, outside the barroom.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But the stool is her vantage point and clearly she’s doing more than drinking, but also a lot of honing her literary skills in observations of her fellow ’flies. In the past that’s earned her comparisons to such fine fellows as Randy Newman (including from this writer). But now the San Franciscan brings to mind a line of tuneful cultural anthropologists, from Van Dyke Parks to New York jazz wit \u003ca href=\"http://www.nytimes.com/2009/02/09/arts/music/09dear.html?_r=0\" target=\"_blank\">Blossom Dearie\u003c/a> (and Oberg’s voice, while very different from Dearie’s coo, is equally distinct for its conversational naturalism). And through Dearie, we may as well draw a line right back to the heart of the Algonquin, Dorothy Parker herself.\u003c/p>\n\u003cp>As with Parker, it’s not all tipsy witticisms. There are at least two references on this short album to upchucking (at least one of those directly related to drinking), and other consequences are there both explicitly and implicitly.\u003c/p>\n\u003cp>Where in solo shows she has that intellectual piano bar thing going, the album expands the picture with some colorful instrumental support and range of arrangements, from the sax and vibes on “Martini Geometry” to the California rock of the title song to the dreamy lilt of “Gwen” (looking back on an old friendship lost to time) and the exhilarating rush of “Incantation.”\u003c/p>\n\u003cp>She does look up and outside at least once, with the sarcastic closer “Republican Jesus,” mocking the seemed-ownership of the figure by certain sociopolitical sectors. It’s as smartly done as the rest, but frankly she’s at her best when her flights start from a more finely focused place, even if just a conical glass in front of her.\u003c/p>\n\u003cp>\u003cstrong>Miguel\u003c/strong>\u003cem>\u003cstrong>, Wildheart \u003c/strong>\u003c/em>\u003cstrong>(RCA)\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut.jpg\">\u003cimg class=\"alignleft size-thumbnail wp-image-10613129\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-400x400.jpg\" alt=\"Miguel, 'Wildheart' (RCA)\" width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-1440x1440.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-1400x1400.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut.jpg 1500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>What a year so far in what, for wont and dire need of a better term, we must call the new L.A. urban music scene. First \u003ca href=\"http://www.nytimes.com/2014/06/29/magazine/kendrick-lamar-hip-hops-newest-old-school-star.html\" target=\"_blank\">Kendrick Lamar\u003c/a>’s groundbreaking, ear-opening \"To Pimp a Butterfly,\" then Kamasi Washington’s 3-CD jazz epic, \"\u003ca href=\"http://pitchfork.com/reviews/albums/20557-the-epic/\" target=\"_blank\">Epic\u003c/a>.\" And now comes an album of deep, personal imagination and emotional resonance from San Pedro’s \u003ca href=\"http://wildheart.officialmiguel.com/\" target=\"_blank\">Miguel\u003c/a>.\u003c/p>\n\u003cp>It's not a total surprise. He has not only made two impressive and chart-hit albums before this, but he’s also become one of the most in-demand writer-producers for a range of artists, Usher and Asher Roth among them -- not to mention taking the 2013 best R&B song Grammy Award for “Adorn.”\u003c/p>\n\u003cp>But this feels like a major artistic statement, kicking off with the pulsating beacon “a beautiful exit” (yes, lower case, as are most of the titles), the title contrasted with the sense of something new being entered.\u003c/p>\n\u003cp>Half African-American, half Mexican-American, Miguel Jontel Pimentel draws strongly from both heritages here, but goes so much farther, fully encompassing the scope of the L.A. region with rock, R&B, jazz, hip-hop -- all at his command in a blend that transcends any of them.\u003c/p>\n\u003cp>It’s very much an album of time and place, or places, literally, with the finely painted portraits of “the valley” and “Hollywood Dreams” sharing complementary viewpoints, each at once full of unbridled hope and jaded cynicism. The latter in particular throws away the notion of format and genre and invites all comers to his comprehensive, engaging vision. Not to mention that it's all pretty, well, sexy.\u003c/p>\n\u003cp>And then there’s “NWA,” a tribute to the essential Compton troupe of the ’90s hip-hop explosion. Rather than try to sound like NWA (featuring rapper Kurupt) even in the least, he fashions whatever inspiration he took from them into something new, something his own, an atmosphere and sound as true to him and to today as that group was to itself and its time.\u003c/p>\n\u003cp>Which really is what a great artist is supposed to do. And bringing it all back around at the end is “face the sun,” with guest Lenny Kravitz, setting up a whole new beginning for next time.\u003c/p>\n\u003cp>\u003cstrong>The Bird and The Bee\u003c/strong>\u003cem>\u003cstrong>, Recreational Love \u003c/strong>\u003c/em>\u003cstrong>(Rostrum)\u003c/strong>\u003cbr>\n\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut.jpg\">\u003cimg class=\"alignleft size-thumbnail wp-image-10613126\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-400x400.jpg\" alt='The Bird and The Bee \"Recreational Love\"' width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut.jpg 480w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\"Recreational Love,\" the new album from \u003ca href=\"http://www.thebirdandthebee.com\" target=\"_blank\">The Bird and The Bee\u003c/a>, is a perfect summer soundtrack — for the summer of ’82. In London. If this music doesn’t make you think of \u003ca href=\"https://youtu.be/uPudE8nDog0\" target=\"_blank\">Human League\u003c/a>, the Thompson Twins and Bananarama, well, you probably weren’t born then.\u003c/p>\n\u003cp>And yet, with the song “Los Angeles,” the duo of Inara George and Greg Kurstin put their (and our) attention very much on today. In, well, Los Angeles. It’s personal, a song inspired by an ex-boyfriend of George’s who wouldn’t accept the fact that she is really, truly from L.A. And it’s that in-the-moment quality that keeps The Bird and The Bee from seeming retro, whatever era the rounds may evoke.\u003c/p>\n\u003cp>It’s a nice trick, worked not just through the words, but through George’s very-present voice and Kurstin’s clear production, devoid of any nostalgia haze or time-displacement irony.\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/80uk7B-h_R0?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Simply finding moments to be in together is tricky enough for these two. George keeps herself pretty busy as part of the Living Sisters, in collaborations with Van Dyke Parks and on her own solo projects. Last year she also put together a series of all-star shows at Largo, paying tribute to L.A. songwriters she thought deserved more attention.\u003c/p>\n\u003cp>Kurstin, meanwhile, has become an elite, Grammy-nominated producer and songwriter on the global pop scene, working of late with Sia, Lykke Li and Charli XCX, among others. Oh, then there’s parenthood. Their respective broods have grown (three young kids for her, two for him) in the five years since the last The Bird and The Bee release. That one also glanced back, being a dance-y tribute to Hall Oates.\u003c/p>\n\u003cp>The album was made in bursts of brief get-togethers, mostly on Friday mornings, so it’s understandable that there is some sense of an oasis escape in the sounds, and at times in the lyrics.\u003c/p>\n\u003cp>And it’s hard not to be swept up in it, whether in the frothy “Will You Dance?” (accompanied by a fun video featuring “The Big Bang Theory” star Simon Helberg and comedian Patton Oswalt). Or as George dreams in “Doctor,” of finding relief in “pills and love,” all over shiny beats that Kurstin makes sound as fresh as they did way back then, in some summer when these two 40-somethings were mere tykes.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/flbce8yaBao?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\n",
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"excerpt": "Pop music critic Steve Hochman reviews new music from The Bird and The Bee, Miguel and Dawn Oberg.",
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"description": "Pop music critic Steve Hochman reviews new music from The Bird and The Bee, Miguel and Dawn Oberg.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dawn Oberg’s combo of tuneful wit and sharply literate observations evokes the old Algonquin. The Bird and the Bee draws on bubbly pop from more than 30 years ago. And Miguel pays homage to some heroes of his youth more than two decades ago. And yet, with their richly creative new albums, all three make statements very much in, and of, the moment.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/216226221&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/216226221'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dawn Oberg,\u003cem> Bring\u003c/em> (Blossom Theory)\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS16120_Bring_package-qut.jpg\">\u003cimg class=\"alignleft size-thumbnail wp-image-10613067\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS16120_Bring_package-qut-400x400.jpg\" alt=\"Dawn Oberg's "Bring"\" width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-1440x1440.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-1400x1400.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16120_Bring_package-qut.jpg 1500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003ca href=\"http://www.dawnoberg.com/\" target=\"_blank\">Dawn Oberg \u003c/a>has a bunch of wry songs, and on her last album at least one \"Rye\" song. “Martini Geometry” from her new album, \"Bring,\" is a gin-and-vermouth song. And it’s just the tip of the designer ice cube of saloon culture chronicled. Heck, on “Bartender,” she declares the ’keep as “my partner in crime, in killing all my time” and no less than “my best remedy.”\u003c/p>\n\u003cp>Well, and there’s the distinction and the context. She’s not just killing time, she’s looking for a cure for … well, listen to the songs. But mostly she seeks ways out of aimlessness and uncertainty as she navigates life both inside and, more so, outside the barroom.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the stool is her vantage point and clearly she’s doing more than drinking, but also a lot of honing her literary skills in observations of her fellow ’flies. In the past that’s earned her comparisons to such fine fellows as Randy Newman (including from this writer). But now the San Franciscan brings to mind a line of tuneful cultural anthropologists, from Van Dyke Parks to New York jazz wit \u003ca href=\"http://www.nytimes.com/2009/02/09/arts/music/09dear.html?_r=0\" target=\"_blank\">Blossom Dearie\u003c/a> (and Oberg’s voice, while very different from Dearie’s coo, is equally distinct for its conversational naturalism). And through Dearie, we may as well draw a line right back to the heart of the Algonquin, Dorothy Parker herself.\u003c/p>\n\u003cp>As with Parker, it’s not all tipsy witticisms. There are at least two references on this short album to upchucking (at least one of those directly related to drinking), and other consequences are there both explicitly and implicitly.\u003c/p>\n\u003cp>Where in solo shows she has that intellectual piano bar thing going, the album expands the picture with some colorful instrumental support and range of arrangements, from the sax and vibes on “Martini Geometry” to the California rock of the title song to the dreamy lilt of “Gwen” (looking back on an old friendship lost to time) and the exhilarating rush of “Incantation.”\u003c/p>\n\u003cp>She does look up and outside at least once, with the sarcastic closer “Republican Jesus,” mocking the seemed-ownership of the figure by certain sociopolitical sectors. It’s as smartly done as the rest, but frankly she’s at her best when her flights start from a more finely focused place, even if just a conical glass in front of her.\u003c/p>\n\u003cp>\u003cstrong>Miguel\u003c/strong>\u003cem>\u003cstrong>, Wildheart \u003c/strong>\u003c/em>\u003cstrong>(RCA)\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut.jpg\">\u003cimg class=\"alignleft size-thumbnail wp-image-10613129\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-400x400.jpg\" alt=\"Miguel, 'Wildheart' (RCA)\" width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-1440x1440.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-1400x1400.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16123_Miguel_wildheart_CD-qut.jpg 1500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>What a year so far in what, for wont and dire need of a better term, we must call the new L.A. urban music scene. First \u003ca href=\"http://www.nytimes.com/2014/06/29/magazine/kendrick-lamar-hip-hops-newest-old-school-star.html\" target=\"_blank\">Kendrick Lamar\u003c/a>’s groundbreaking, ear-opening \"To Pimp a Butterfly,\" then Kamasi Washington’s 3-CD jazz epic, \"\u003ca href=\"http://pitchfork.com/reviews/albums/20557-the-epic/\" target=\"_blank\">Epic\u003c/a>.\" And now comes an album of deep, personal imagination and emotional resonance from San Pedro’s \u003ca href=\"http://wildheart.officialmiguel.com/\" target=\"_blank\">Miguel\u003c/a>.\u003c/p>\n\u003cp>It's not a total surprise. He has not only made two impressive and chart-hit albums before this, but he’s also become one of the most in-demand writer-producers for a range of artists, Usher and Asher Roth among them -- not to mention taking the 2013 best R&B song Grammy Award for “Adorn.”\u003c/p>\n\u003cp>But this feels like a major artistic statement, kicking off with the pulsating beacon “a beautiful exit” (yes, lower case, as are most of the titles), the title contrasted with the sense of something new being entered.\u003c/p>\n\u003cp>Half African-American, half Mexican-American, Miguel Jontel Pimentel draws strongly from both heritages here, but goes so much farther, fully encompassing the scope of the L.A. region with rock, R&B, jazz, hip-hop -- all at his command in a blend that transcends any of them.\u003c/p>\n\u003cp>It’s very much an album of time and place, or places, literally, with the finely painted portraits of “the valley” and “Hollywood Dreams” sharing complementary viewpoints, each at once full of unbridled hope and jaded cynicism. The latter in particular throws away the notion of format and genre and invites all comers to his comprehensive, engaging vision. Not to mention that it's all pretty, well, sexy.\u003c/p>\n\u003cp>And then there’s “NWA,” a tribute to the essential Compton troupe of the ’90s hip-hop explosion. Rather than try to sound like NWA (featuring rapper Kurupt) even in the least, he fashions whatever inspiration he took from them into something new, something his own, an atmosphere and sound as true to him and to today as that group was to itself and its time.\u003c/p>\n\u003cp>Which really is what a great artist is supposed to do. And bringing it all back around at the end is “face the sun,” with guest Lenny Kravitz, setting up a whole new beginning for next time.\u003c/p>\n\u003cp>\u003cstrong>The Bird and The Bee\u003c/strong>\u003cem>\u003cstrong>, Recreational Love \u003c/strong>\u003c/em>\u003cstrong>(Rostrum)\u003c/strong>\u003cbr>\n\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut.jpg\">\u003cimg class=\"alignleft size-thumbnail wp-image-10613126\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-400x400.jpg\" alt='The Bird and The Bee \"Recreational Love\"' width=\"400\" height=\"400\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-400x400.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut-75x75.jpg 75w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS16122_rlcover1500x1500-qut.jpg 480w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\"Recreational Love,\" the new album from \u003ca href=\"http://www.thebirdandthebee.com\" target=\"_blank\">The Bird and The Bee\u003c/a>, is a perfect summer soundtrack — for the summer of ’82. In London. If this music doesn’t make you think of \u003ca href=\"https://youtu.be/uPudE8nDog0\" target=\"_blank\">Human League\u003c/a>, the Thompson Twins and Bananarama, well, you probably weren’t born then.\u003c/p>\n\u003cp>And yet, with the song “Los Angeles,” the duo of Inara George and Greg Kurstin put their (and our) attention very much on today. In, well, Los Angeles. It’s personal, a song inspired by an ex-boyfriend of George’s who wouldn’t accept the fact that she is really, truly from L.A. And it’s that in-the-moment quality that keeps The Bird and The Bee from seeming retro, whatever era the rounds may evoke.\u003c/p>\n\u003cp>It’s a nice trick, worked not just through the words, but through George’s very-present voice and Kurstin’s clear production, devoid of any nostalgia haze or time-displacement irony.\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/80uk7B-h_R0?feature=oembed\" frameborder=\"0\" allow=\"autoplay; encrypted-media\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Simply finding moments to be in together is tricky enough for these two. George keeps herself pretty busy as part of the Living Sisters, in collaborations with Van Dyke Parks and on her own solo projects. Last year she also put together a series of all-star shows at Largo, paying tribute to L.A. songwriters she thought deserved more attention.\u003c/p>\n\u003cp>Kurstin, meanwhile, has become an elite, Grammy-nominated producer and songwriter on the global pop scene, working of late with Sia, Lykke Li and Charli XCX, among others. Oh, then there’s parenthood. Their respective broods have grown (three young kids for her, two for him) in the five years since the last The Bird and The Bee release. That one also glanced back, being a dance-y tribute to Hall Oates.\u003c/p>\n\u003cp>The album was made in bursts of brief get-togethers, mostly on Friday mornings, so it’s understandable that there is some sense of an oasis escape in the sounds, and at times in the lyrics.\u003c/p>\n\u003cp>And it’s hard not to be swept up in it, whether in the frothy “Will You Dance?” (accompanied by a fun video featuring “The Big Bang Theory” star Simon Helberg and comedian Patton Oswalt). Or as George dreams in “Doctor,” of finding relief in “pills and love,” all over shiny beats that Kurstin makes sound as fresh as they did way back then, in some summer when these two 40-somethings were mere tykes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Lake Berryessa Fire Timelapse: Poetry of Smoke and Light",
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"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://player.vimeo.com/video/134351601\" width=\"800\" height=\"449\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Justin Majeczky, a photographer who specializes in timelapses, was at home in the Yolo County town of Woodland on Wednesday when he saw smoke to the west. He was seeing the early stages of the Wragg Fire, which has burned nearly 7,000 acres at the southeast end of Lake Berryessa.\u003c/p>\n\u003cp>Majeczky, 27, grabbed his timelapse equipment -- two Sony cameras and a pair of tripods -- and headed across the western edge of the Sacramento Valley toward the mountains where the fire was burning. What he captured was, well, poetic. The video, above, speaks for itself.\u003c/p>\n\u003cp>The images also illustrate a less poetic reality: In its early hours especially, the fire was generating large volumes of smoke and ash that caused air-quality concerns east into Winters, Davis, Sacramento and north as far as Redding.\u003c/p>\n\u003cp>Majeczky says he began putting timelapses together when he was 16. \"I started shooting when I was 13, and then the timelapses were something fun to do,\" he says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He's now in the timelapse business. His small production company, Varient3.com, took off after he posted a piece on Sacramento last year, and he's done work for commercial clients, including camera maker Canon and Home and Garden Television.\u003c/p>\n\n",
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"excerpt": "Woodland-based photographer scrambled to capture early hours of fire in mountains north of Vacaville. ",
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"slug": "lake-berryessa-fire-timelapse-poetry-of-smoke-and-light",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://player.vimeo.com/video/134351601\" width=\"800\" height=\"449\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Justin Majeczky, a photographer who specializes in timelapses, was at home in the Yolo County town of Woodland on Wednesday when he saw smoke to the west. He was seeing the early stages of the Wragg Fire, which has burned nearly 7,000 acres at the southeast end of Lake Berryessa.\u003c/p>\n\u003cp>Majeczky, 27, grabbed his timelapse equipment -- two Sony cameras and a pair of tripods -- and headed across the western edge of the Sacramento Valley toward the mountains where the fire was burning. What he captured was, well, poetic. The video, above, speaks for itself.\u003c/p>\n\u003cp>The images also illustrate a less poetic reality: In its early hours especially, the fire was generating large volumes of smoke and ash that caused air-quality concerns east into Winters, Davis, Sacramento and north as far as Redding.\u003c/p>\n\u003cp>Majeczky says he began putting timelapses together when he was 16. \"I started shooting when I was 13, and then the timelapses were something fun to do,\" he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He's now in the timelapse business. His small production company, Varient3.com, took off after he posted a piece on Sacramento last year, and he's done work for commercial clients, including camera maker Canon and Home and Garden Television.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Anna Deavere Smith Fights School-to-Prison Pipeline With New Play",
"title": "Anna Deavere Smith Fights School-to-Prison Pipeline With New Play",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>\u003ca href=\"http://annadeaveresmithprojects.net/\" target=\"_blank\">Anna Deavere Smith\u003c/a> is best known for her TV work on \u003ca href=\"http://www.sho.com/sho/nurse-jackie/home\" target=\"_blank\">\"Nurse Jackie\"\u003c/a> and \"The West Wing,\" but she’s been making documentary theater for decades, about race and class.\u003c/p>\n\u003cp>Her latest play, \u003ca href=\"http://www.berkeleyrep.org/season/1415/9293.asp\" target=\"_blank\">“Notes from the Field: Doing Time in Education, The California Chapter”\u003c/a> at Berkeley Repertory Theatre, tackles what social justice groups have dubbed the\u003ca href=\"http://www.pbs.org/wnet/tavissmiley/tsr/education-under-arrest/school-to-prison-pipeline-fact-sheet/\" target=\"_blank\"> school-to-prison pipeline\u003c/a>. That's what happens when black, brown and Native American children are suspended, expelled and even arrested way out of proportion to their numbers in the student population, putting them on a path to juvenile hall or prison.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/215213165\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>Smith creates her shows by interviewing people who know the issues firsthand, nearly 150 for \"Notes,\" and then embodying a dozen or more on stage, using quick changes in costume and voice.\u003c/p>\n\u003cp>For instance, \u003ca href=\"http://www.stocktongov.com/government/council/district6.html\" target=\"_blank\">Michael Tubbs\u003c/a>, an African-American city councilman from Stockton, makes an appearance near the beginning of the play.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"Whenever I talk to young people in Stockton,\" says Smith as Tubbs, \"I always quote the \u003ca href=\"http://allpoetry.com/The-Rose-That-Grew-From-Concrete\" target=\"_blank\">Tupac (Shakur) poem about the rose that grew from concrete\u003c/a>, where he talks about, 'Long live the rose that grew from concrete when no one else cares.' \"\u003c/p>\n\u003cp>A note of hope, tempered by another observation from Smith in her role as Tubbs.\u003c/p>\n\u003cp>\"For a lot of men of color in Stockton, there’s almost this prevailing sense of nihilism. You have an undercaste of young people who just feel forgotten, neglected and just angry, and don’t know what to be angry at.\"\u003c/p>\n\u003cp>Among the other characters: Abby Abinanti, chief judge of the Yurok Tribal Court, and Taos Proctor, a Yurok fisherman, who Abinanti helped rescue from the school-to-prison system.\u003c/p>\n\u003cp>The monologues, so vivid in Smith's impersonations, are underscored with musical backing from bassist, bandleader and composer Marcus Shelby.\u003c/p>\n\u003cfigure id=\"attachment_10603544\" class=\"wp-caption alignright\" style=\"max-width: 373px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/NF6_lr.jpg\">\u003cimg class=\"wp-image-10603544 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/NF6_lr.jpg\" alt='Bassist Marcus Shelby composes music for and performs in Anna Deavere Smith’s \"Notes from the Field: Doing Time in Education, The California Chapter\"' width=\"373\" height=\"560\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bassist Marcus Shelby composes music for and performs in Anna Deavere Smith’s \"Notes from the Field: Doing Time in Education, The California Chapter\" \u003ccite>(Kevin Berne/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one transition between scenes, Shelby improvises on \"\u003ca href=\"https://www.youtube.com/watch?v=OGd6CdtOqEE\" target=\"_blank\">Spanish Harlem,\u003c/a>\" a old song that restates the theme of the Tupac poem:\u003c/p>\n\u003cp>\"There is a rose in Spanish Harlem...\u003c/p>\n\u003cp>It's growing in the street\u003cbr>\nRight up through the concrete.\"\u003c/p>\n\u003cp>Shelby plays that song and a lot of blues throughout the play because, he says, the blues capture the pain of the human condition.\u003c/p>\n\u003cp>\"It’s the dichotomy between tragedy and triumph,\" Shelby said. \"All the ways we feel life: anger happiness, love, tension, release.\u003c/p>\n\u003cp>The play is highly personal for Smith, whose mother was a teacher at a school in a poor Baltimore neighborhood.\u003c/p>\n\u003cp>\"So in my house,\" Smith said, \"my mother would bring home these great big boys because she believed there was no such thing as a non-reader. So if someone was in her sixth-grade class, they weren’t leaving sixth grade until they learned to read.\"\u003c/p>\n\u003cp>Smith argues, during an interview in a break from rehearsal recently, and in her characters on stage, that these days teachers are taking an unfair share of the blame for funneling troubled students into the school-to-prison pipeline.\u003c/p>\n\u003cp>\"Because it is a broader problem that is linked to poverty,\" Smith said, \"and the question is how do we help people become productive citizens to their families, to their country and to their communities.\"\u003c/p>\n\u003cp>The play has a surprise built into its second act, even for audiences familiar with Smith’s discursive storytelling.\u003c/p>\n\u003cp>At intermission during a recent preview, 20 facilitators, some from the writing corps \u003ca href=\"http://youthspeaks.org/\" target=\"_blank\">Youth Speaks\u003c/a>, broke the audience up into groups of 30 or so for a brisk whiteboard exercise.\u003c/p>\n\u003cfigure id=\"attachment_10603673\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_458627864.jpg\">\u003cimg class=\"wp-image-10603673 size-large\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_458627864-1440x1080.jpg\" alt=\"Poet Dahlak Brathwaite at the whiteboard during Anna Deveare Smith's "Notes from the Field: Doing Time in Education, The California Chapter.”\" width=\"640\" height=\"480\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-1400x1050.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Poet Dahlak Brathwaite at the whiteboard during Anna Deveare Smith's \"Notes from the Field: Doing Time in Education, The California Chapter.” \u003ccite>(Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As audience members munched packets of cookies, the kind you might find in a schoolkid's lunchbox, poet Dahlak Brathwaite asked the audience to accept the challenge implicit in Smith's play, \"to be part of the effort to change (the school-to-prison pipeline).\"\u003c/p>\n\u003cp>In the play, Smith portrays a conversation with Sherrilyn Ifill, president of the NAACP Legal Defense and Education Fund, in which Ifill calls for the U.S. to invest in education in the same way it invested in the U.S. highway system and the suburbs.\u003c/p>\n\u003cp>But audience members in our group were less ambitious. One man said, \"To create the society I want to live in, I would be willing to pay higher taxes.\"\u003c/p>\n\u003cp>Another said, \"I will vote.\"\u003c/p>\n\u003cp>Asked what she thought of the exercise, Sybil Cobbs of Oakland, part of another group, said, \"I actually loved it. We’re changing our minds, and therefore everything will follow in terms of our actions.\"\u003c/p>\n\u003cp>But she added, \"One young man in our group said, ‘What change can we make in three years?’ And it was heart-wrenching, that our young people feel so hopeless.\"\u003c/p>\n\u003cp>The Act Two discussions raise the question of whether theater, or any art form, can change society. One scholar notes that plays agitating for change are as old the anti-war plays of Aristophanes, and as American as the Federal Theater Project of the Great Depression.\u003c/p>\n\u003cp>Smith herself bristled a bit when I asked the question.\u003c/p>\n\u003cp>\"It’s so obvious,\" she said, \"that art is a form of expression that gets beyond the official language. That complicates things. It has the opportunity to really draw more people in, and particularly in a place in their heart, where they might just make an adjustment about how they think about things.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Smith will be trying to motivate people to change the school-to-prison pipeline through Aug. 2 at Berkeley Rep. Then she and Berkeley Rep are working on plans to take the show to Yurok country in Northern California, and to three cities on the East Coast.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://annadeaveresmithprojects.net/\" target=\"_blank\">Anna Deavere Smith\u003c/a> is best known for her TV work on \u003ca href=\"http://www.sho.com/sho/nurse-jackie/home\" target=\"_blank\">\"Nurse Jackie\"\u003c/a> and \"The West Wing,\" but she’s been making documentary theater for decades, about race and class.\u003c/p>\n\u003cp>Her latest play, \u003ca href=\"http://www.berkeleyrep.org/season/1415/9293.asp\" target=\"_blank\">“Notes from the Field: Doing Time in Education, The California Chapter”\u003c/a> at Berkeley Repertory Theatre, tackles what social justice groups have dubbed the\u003ca href=\"http://www.pbs.org/wnet/tavissmiley/tsr/education-under-arrest/school-to-prison-pipeline-fact-sheet/\" target=\"_blank\"> school-to-prison pipeline\u003c/a>. That's what happens when black, brown and Native American children are suspended, expelled and even arrested way out of proportion to their numbers in the student population, putting them on a path to juvenile hall or prison.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/215213165&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/215213165'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Smith creates her shows by interviewing people who know the issues firsthand, nearly 150 for \"Notes,\" and then embodying a dozen or more on stage, using quick changes in costume and voice.\u003c/p>\n\u003cp>For instance, \u003ca href=\"http://www.stocktongov.com/government/council/district6.html\" target=\"_blank\">Michael Tubbs\u003c/a>, an African-American city councilman from Stockton, makes an appearance near the beginning of the play.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"Whenever I talk to young people in Stockton,\" says Smith as Tubbs, \"I always quote the \u003ca href=\"http://allpoetry.com/The-Rose-That-Grew-From-Concrete\" target=\"_blank\">Tupac (Shakur) poem about the rose that grew from concrete\u003c/a>, where he talks about, 'Long live the rose that grew from concrete when no one else cares.' \"\u003c/p>\n\u003cp>A note of hope, tempered by another observation from Smith in her role as Tubbs.\u003c/p>\n\u003cp>\"For a lot of men of color in Stockton, there’s almost this prevailing sense of nihilism. You have an undercaste of young people who just feel forgotten, neglected and just angry, and don’t know what to be angry at.\"\u003c/p>\n\u003cp>Among the other characters: Abby Abinanti, chief judge of the Yurok Tribal Court, and Taos Proctor, a Yurok fisherman, who Abinanti helped rescue from the school-to-prison system.\u003c/p>\n\u003cp>The monologues, so vivid in Smith's impersonations, are underscored with musical backing from bassist, bandleader and composer Marcus Shelby.\u003c/p>\n\u003cfigure id=\"attachment_10603544\" class=\"wp-caption alignright\" style=\"max-width: 373px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/NF6_lr.jpg\">\u003cimg class=\"wp-image-10603544 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/NF6_lr.jpg\" alt='Bassist Marcus Shelby composes music for and performs in Anna Deavere Smith’s \"Notes from the Field: Doing Time in Education, The California Chapter\"' width=\"373\" height=\"560\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bassist Marcus Shelby composes music for and performs in Anna Deavere Smith’s \"Notes from the Field: Doing Time in Education, The California Chapter\" \u003ccite>(Kevin Berne/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In one transition between scenes, Shelby improvises on \"\u003ca href=\"https://www.youtube.com/watch?v=OGd6CdtOqEE\" target=\"_blank\">Spanish Harlem,\u003c/a>\" a old song that restates the theme of the Tupac poem:\u003c/p>\n\u003cp>\"There is a rose in Spanish Harlem...\u003c/p>\n\u003cp>It's growing in the street\u003cbr>\nRight up through the concrete.\"\u003c/p>\n\u003cp>Shelby plays that song and a lot of blues throughout the play because, he says, the blues capture the pain of the human condition.\u003c/p>\n\u003cp>\"It’s the dichotomy between tragedy and triumph,\" Shelby said. \"All the ways we feel life: anger happiness, love, tension, release.\u003c/p>\n\u003cp>The play is highly personal for Smith, whose mother was a teacher at a school in a poor Baltimore neighborhood.\u003c/p>\n\u003cp>\"So in my house,\" Smith said, \"my mother would bring home these great big boys because she believed there was no such thing as a non-reader. So if someone was in her sixth-grade class, they weren’t leaving sixth grade until they learned to read.\"\u003c/p>\n\u003cp>Smith argues, during an interview in a break from rehearsal recently, and in her characters on stage, that these days teachers are taking an unfair share of the blame for funneling troubled students into the school-to-prison pipeline.\u003c/p>\n\u003cp>\"Because it is a broader problem that is linked to poverty,\" Smith said, \"and the question is how do we help people become productive citizens to their families, to their country and to their communities.\"\u003c/p>\n\u003cp>The play has a surprise built into its second act, even for audiences familiar with Smith’s discursive storytelling.\u003c/p>\n\u003cp>At intermission during a recent preview, 20 facilitators, some from the writing corps \u003ca href=\"http://youthspeaks.org/\" target=\"_blank\">Youth Speaks\u003c/a>, broke the audience up into groups of 30 or so for a brisk whiteboard exercise.\u003c/p>\n\u003cfigure id=\"attachment_10603673\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_458627864.jpg\">\u003cimg class=\"wp-image-10603673 size-large\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/IMG_458627864-1440x1080.jpg\" alt=\"Poet Dahlak Brathwaite at the whiteboard during Anna Deveare Smith's "Notes from the Field: Doing Time in Education, The California Chapter.”\" width=\"640\" height=\"480\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-1400x1050.jpg 1400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/IMG_458627864-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Poet Dahlak Brathwaite at the whiteboard during Anna Deveare Smith's \"Notes from the Field: Doing Time in Education, The California Chapter.” \u003ccite>(Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As audience members munched packets of cookies, the kind you might find in a schoolkid's lunchbox, poet Dahlak Brathwaite asked the audience to accept the challenge implicit in Smith's play, \"to be part of the effort to change (the school-to-prison pipeline).\"\u003c/p>\n\u003cp>In the play, Smith portrays a conversation with Sherrilyn Ifill, president of the NAACP Legal Defense and Education Fund, in which Ifill calls for the U.S. to invest in education in the same way it invested in the U.S. highway system and the suburbs.\u003c/p>\n\u003cp>But audience members in our group were less ambitious. One man said, \"To create the society I want to live in, I would be willing to pay higher taxes.\"\u003c/p>\n\u003cp>Another said, \"I will vote.\"\u003c/p>\n\u003cp>Asked what she thought of the exercise, Sybil Cobbs of Oakland, part of another group, said, \"I actually loved it. We’re changing our minds, and therefore everything will follow in terms of our actions.\"\u003c/p>\n\u003cp>But she added, \"One young man in our group said, ‘What change can we make in three years?’ And it was heart-wrenching, that our young people feel so hopeless.\"\u003c/p>\n\u003cp>The Act Two discussions raise the question of whether theater, or any art form, can change society. One scholar notes that plays agitating for change are as old the anti-war plays of Aristophanes, and as American as the Federal Theater Project of the Great Depression.\u003c/p>\n\u003cp>Smith herself bristled a bit when I asked the question.\u003c/p>\n\u003cp>\"It’s so obvious,\" she said, \"that art is a form of expression that gets beyond the official language. That complicates things. It has the opportunity to really draw more people in, and particularly in a place in their heart, where they might just make an adjustment about how they think about things.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Smith will be trying to motivate people to change the school-to-prison pipeline through Aug. 2 at Berkeley Rep. Then she and Berkeley Rep are working on plans to take the show to Yurok country in Northern California, and to three cities on the East Coast.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
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