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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/martins-beach.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-136287\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/martins-beach-640x450.jpg\" alt=\"martins-beach\" width=\"640\" height=\"450\">\u003c/a> The courtroom battle over whether Silicon Valley billionaire Vinod Khosla can \u003ca href=\"http://ww2.kqed.org/news/vinod-khosla-says-he-cannot-recall-decision-to-close-road-to-beach\" target=\"_blank\">legally bar the public from a coastal property\u003c/a> he owns moved to the beach in question on Thursday, May 15. Superior Court Judge Barbara Mallach stands on the right while touring Martins Beach. (Peter Jon Shuler/KQED) \u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/whent1.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-136282\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/whent1-640x450.jpg\" alt=\"whent\" width=\"640\" height=\"450\">\u003c/a> After a year as interim chief, Sean Whent has been named Oakland's police chief. Whent has spent his entire 18-year law enforcement career with the Oakland Police Department, serving for a time overseeing the Internal Affairs Division, which scored him some points with police critics but may have ruffled feathers with the rank-and-file on the force. (Alex Emslie/KQED) \u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/10341_transform.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-136283\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/10341_transform-640x449.jpg\" alt=\"10341_transform\" width=\"640\" height=\"449\">\u003c/a> Thousands of cat lovers attended Oakland's first-ever \u003ca href=\"http://ww2.kqed.org/news/internet_cat_video_festival\" target=\"_blank\">Internet Cat Video Festival\u003c/a> on Saturday, May 10, crowding into four blocked-off streets in the Uptown area. The all-day event celebrated everything feline, with cat adoptions, cat art, a cat photo booth, aerial acrobatics and live music. Organizers said more than 6,000 people attended. (Kathryn Hunts/KQED) \u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/san-diego-fires.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-136284\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/san-diego-fires-640x450.jpg\" alt=\"Wildfire Forces Evacuation Of Thousands In Carlsbad, California\" width=\"640\" height=\"450\">\u003c/a> One of the nine fires burning in San Diego County suddenly flared Thursday afternoon, May 15, and burned very near homes, triggering thousands of new evacuation orders. County Sheriff Bill Gore said new evacuation notices were transmitted to 12,952 phone numbers. They were in addition to more than 20,000 evacuation notices issued Wednesday. (David McNew/Getty Images) \u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/elmwood-prom.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-136285\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/elmwood-prom-640x450.jpg\" alt=\"elmwood-prom\" width=\"640\" height=\"450\">\u003c/a> A Berkeley teenager named Zane used Elmwood Rialto Cinema’s marquee to \u003ca href=\"http://www.berkeleyside.com/2014/05/15/guy-asks-girl-to-the-prom-using-berkeley-movie-theater-marquee/\" target=\"_blank\">ask his gal to the prom\u003c/a>. Katie said yes. (Nick Kukkurovaca/\u003ca href=\"http://www.berkeleyside.com/\" target=\"_blank\">Berkeleyside\u003c/a>) \u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/10353_transform.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-136286\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/10353_transform-640x449.jpg\" alt=\"10353_transform\" width=\"640\" height=\"449\"> Low-income residents of \u003c/a>\u003ca href=\"http://ww2.kqed.org/news/palo-alto-residents-fight-to-save-mobile-home-park\" target=\"_blank\">Palo Alto's only mobile home park\u003c/a>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/10353_transform.jpg\"> rallied on May 12 \u003c/a>with some of their better-off neighbors to keep open this rare source of affordable housing in the city. The owners of the Buena Vista Mobile Home Park want to sell the 4.5-acre parcel to developers who plan to build luxury housing. (Francesca \u003cspan style=\"color: #000000\">Segrè\u003c/span>/KQED)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "100 Years Later, California's Lost Commune Comes Briefly Back to Life",
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"content": "\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/05/2014-05-16d-tcrmag.mp3\u003c/p>\n\u003cp>On May 1, 1914, the Socialist colony of Llano Del Rio was founded in the Antelope Valley, about 70 miles northeast of Los Angeles, on the southern edge of the Mojave Desert.\u003c/p>\n\u003cp>It lasted about 3½ years, and at its peak more than a thousand people lived there.\u003c/p>\n\u003cp>On a recent weekend, a couple dozen Southern California artists paid tribute to the centennial of this experiment in communal living with a project called “Squaring the Circle.” The daylong event included film screenings, performance art and music.\u003c/p>\n\u003cp>One of the artists, Christine Suarez, danced in the stone ruins of what was once a house. She slowly swayed a thin veil of white tulle around her, as her collaborator, Alexx Shilling, read from a letter written by a Llano settler.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We can’t achieve the impossible. We are still under the thumb of capitalism. Our colony is a corporation,” the letter said. “But instead of using it for parasitical advantage, the benefits go to us, the workers.”\u003c/p>\n\u003cp>Suarez adapted some of the letters based on research and correspondence she discovered.\u003c/p>\n\u003cp>Artist Leora Wien reimagined a May Day ceremony by installing a maypole. Several participants grabbed colorful ribbons and danced in circles around the pole, weaving the fabric into a tight pattern.\u003c/p>\n\u003cp>“They celebrated May Day, which has become a day for workers’ rights, for advocating for things like the eight-hour workweek,” Wien said. “There is archival footage of the May Day festival with a maypole, so that was the inspiration.”\u003c/p>\n\u003cfigure id=\"attachment_10140905\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/FabricGirl.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/FabricGirl-400x335.jpg\" alt='Dance theater artist Christine Suarez performs \"Mother.Work\" in the stone ruins of what was once a house at Llano Del Rio. (Avishay Artsy/KQED)' width=\"400\" height=\"335\" class=\"size-thumbnail wp-image-10140905\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dance theater artist Christine Suarez performs \"Mother.Work\" in the stone ruins of what was once a house at Llano Del Rio. (Avishay Artsy/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Job Harriman, a lawyer and Socialist leader, was the founder of Llano Del Rio. In 1900 he ran for vice president of the United States, along with Eugene Debs, on the Socialist Party of America ticket. He later ran for Los Angeles mayor twice, but lost because he defended the widely reviled McNamara brothers, the union activists who pleaded guilty to bombing the Los Angeles Times building in 1910, which killed 21 people.\u003c/p>\n\u003cp>After his narrow defeat, Harriman convinced members of the Young People’s Socialist League, or YPSLs, and other progressives and farmers to start a self-sufficient community in the desert.\u003c/p>\n\u003cp>At the time, the average wage for skilled labor was $2.50 a day, and workers labored 10 hours a day, six days a week. Llano Del Rio promised better wages and working conditions – $4 a day, eight hours a day, five days a week.\u003c/p>\n\u003cp>“That was kind of revolutionary,” said historian Paul Greenstein. He co-wrote “Bread & Hyacinths: The Rise and Fall of Utopian Los Angeles,” a book about Llano Del Rio. Llano settlers built a printing press, planted fruit orchards and alfalfa, and raised dairy cows, chickens and rabbits. There was even a fish hatchery. But it wasn’t all hard work.\u003c/p>\n\u003cp>“They had a mandolin orchestra. They had the best baseball team in the Antelope Valley,” Greenstein said. “They had weekly dances, which were widely attended by everybody in the area.”\u003c/p>\n\u003cfigure id=\"attachment_10140909\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/fuzzydude.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/fuzzydude-400x232.jpg\" alt=\"Electronic artist Stephen Fiche performs echoing ambient music, utilizing the cavernous acoustics of the grain silo at Llano Del Rio. (Avishay Artsy/KQED)\" width=\"400\" height=\"232\" class=\"size-thumbnail wp-image-10140909\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Electronic artist Stephen Fiche performs echoing ambient music, utilizing the cavernous acoustics of the grain silo at Llano Del Rio. (Avishay Artsy/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>For the “Squaring the Circle” event, Greenstein set up a canvas tent, much like those the Llano inhabitants lived in, and displayed old photographs and copies of “The Western Comrade,” a Socialist newspaper edited by Harriman. Greenstein also brought along a wax cylinder player, a model that would have been used 100 years ago. And he brought a working 1913 Metz roadster, and offered people rides around the site.\u003c/p>\n\u003cp>Having a car would have come in handy at Llano Del Rio. The colony was spread out over several miles, with plans for further expansion. Founder Harriman tapped a radical feminist architect named Alice Constance Austin to design the city.\u003c/p>\n\u003cp>“She had this whole crazy idea about underground systems, where laundry would be put down the chute, and it would be taken away, and meals would be delivered underground,” said artist and organizer Cindy Rehm. “It’d be this way that women would be liberated from working in the kitchen.”\u003c/p>\n\u003cp>Austin’s plans were never carried out. The community rejected what it saw as concrete prisonlike buildings. Instead, people lived in tents or adobe houses, most of which were destroyed by storms, leaving only the remains of a cistern, a hotel, a dairy farm and a grain silo. That’s where electronic artist Stephen Fiche performed his concert of echoing ambient music.\u003c/p>\n\u003cp>Llano Del Rio declared bankruptcy in 1918. The commune folded for a few reasons. There was internal strife over the political structure of the colony. There was a lack of reliable water from Big Rock Creek, the stream that flowed from the San Gabriel Mountains to the colony. Also, the outbreak of World War I meant young men from the colony were drafted, and good-paying work became available in Los Angeles.\u003c/p>\n\u003cp>In 1918, some 60 families boarded a train to Louisiana and formed New Llano, which lived on for another 20 years. \u003c/p>\n\u003cp>“We’re looking at the ruins of the colony now,” said Dydia DeLyser, a professor of geography and a Llano expert. “But it represents a time of real hope, and the earnest and sincere efforts of 1,000 or maybe 1,500 people who lived here, who sought to build a bright and different future.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Which is a lot like Los Angeles today — a place where people still move to start over, pursue their dreams and create a bit of paradise in the desert.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/05/2014-05-16d-tcrmag.mp3\u003c/p>\n\u003cp>On May 1, 1914, the Socialist colony of Llano Del Rio was founded in the Antelope Valley, about 70 miles northeast of Los Angeles, on the southern edge of the Mojave Desert.\u003c/p>\n\u003cp>It lasted about 3½ years, and at its peak more than a thousand people lived there.\u003c/p>\n\u003cp>On a recent weekend, a couple dozen Southern California artists paid tribute to the centennial of this experiment in communal living with a project called “Squaring the Circle.” The daylong event included film screenings, performance art and music.\u003c/p>\n\u003cp>One of the artists, Christine Suarez, danced in the stone ruins of what was once a house. She slowly swayed a thin veil of white tulle around her, as her collaborator, Alexx Shilling, read from a letter written by a Llano settler.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We can’t achieve the impossible. We are still under the thumb of capitalism. Our colony is a corporation,” the letter said. “But instead of using it for parasitical advantage, the benefits go to us, the workers.”\u003c/p>\n\u003cp>Suarez adapted some of the letters based on research and correspondence she discovered.\u003c/p>\n\u003cp>Artist Leora Wien reimagined a May Day ceremony by installing a maypole. Several participants grabbed colorful ribbons and danced in circles around the pole, weaving the fabric into a tight pattern.\u003c/p>\n\u003cp>“They celebrated May Day, which has become a day for workers’ rights, for advocating for things like the eight-hour workweek,” Wien said. “There is archival footage of the May Day festival with a maypole, so that was the inspiration.”\u003c/p>\n\u003cfigure id=\"attachment_10140905\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/FabricGirl.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/FabricGirl-400x335.jpg\" alt='Dance theater artist Christine Suarez performs \"Mother.Work\" in the stone ruins of what was once a house at Llano Del Rio. (Avishay Artsy/KQED)' width=\"400\" height=\"335\" class=\"size-thumbnail wp-image-10140905\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dance theater artist Christine Suarez performs \"Mother.Work\" in the stone ruins of what was once a house at Llano Del Rio. (Avishay Artsy/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Job Harriman, a lawyer and Socialist leader, was the founder of Llano Del Rio. In 1900 he ran for vice president of the United States, along with Eugene Debs, on the Socialist Party of America ticket. He later ran for Los Angeles mayor twice, but lost because he defended the widely reviled McNamara brothers, the union activists who pleaded guilty to bombing the Los Angeles Times building in 1910, which killed 21 people.\u003c/p>\n\u003cp>After his narrow defeat, Harriman convinced members of the Young People’s Socialist League, or YPSLs, and other progressives and farmers to start a self-sufficient community in the desert.\u003c/p>\n\u003cp>At the time, the average wage for skilled labor was $2.50 a day, and workers labored 10 hours a day, six days a week. Llano Del Rio promised better wages and working conditions – $4 a day, eight hours a day, five days a week.\u003c/p>\n\u003cp>“That was kind of revolutionary,” said historian Paul Greenstein. He co-wrote “Bread & Hyacinths: The Rise and Fall of Utopian Los Angeles,” a book about Llano Del Rio. Llano settlers built a printing press, planted fruit orchards and alfalfa, and raised dairy cows, chickens and rabbits. There was even a fish hatchery. But it wasn’t all hard work.\u003c/p>\n\u003cp>“They had a mandolin orchestra. They had the best baseball team in the Antelope Valley,” Greenstein said. “They had weekly dances, which were widely attended by everybody in the area.”\u003c/p>\n\u003cfigure id=\"attachment_10140909\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/fuzzydude.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/fuzzydude-400x232.jpg\" alt=\"Electronic artist Stephen Fiche performs echoing ambient music, utilizing the cavernous acoustics of the grain silo at Llano Del Rio. (Avishay Artsy/KQED)\" width=\"400\" height=\"232\" class=\"size-thumbnail wp-image-10140909\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Electronic artist Stephen Fiche performs echoing ambient music, utilizing the cavernous acoustics of the grain silo at Llano Del Rio. (Avishay Artsy/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>For the “Squaring the Circle” event, Greenstein set up a canvas tent, much like those the Llano inhabitants lived in, and displayed old photographs and copies of “The Western Comrade,” a Socialist newspaper edited by Harriman. Greenstein also brought along a wax cylinder player, a model that would have been used 100 years ago. And he brought a working 1913 Metz roadster, and offered people rides around the site.\u003c/p>\n\u003cp>Having a car would have come in handy at Llano Del Rio. The colony was spread out over several miles, with plans for further expansion. Founder Harriman tapped a radical feminist architect named Alice Constance Austin to design the city.\u003c/p>\n\u003cp>“She had this whole crazy idea about underground systems, where laundry would be put down the chute, and it would be taken away, and meals would be delivered underground,” said artist and organizer Cindy Rehm. “It’d be this way that women would be liberated from working in the kitchen.”\u003c/p>\n\u003cp>Austin’s plans were never carried out. The community rejected what it saw as concrete prisonlike buildings. Instead, people lived in tents or adobe houses, most of which were destroyed by storms, leaving only the remains of a cistern, a hotel, a dairy farm and a grain silo. That’s where electronic artist Stephen Fiche performed his concert of echoing ambient music.\u003c/p>\n\u003cp>Llano Del Rio declared bankruptcy in 1918. The commune folded for a few reasons. There was internal strife over the political structure of the colony. There was a lack of reliable water from Big Rock Creek, the stream that flowed from the San Gabriel Mountains to the colony. Also, the outbreak of World War I meant young men from the colony were drafted, and good-paying work became available in Los Angeles.\u003c/p>\n\u003cp>In 1918, some 60 families boarded a train to Louisiana and formed New Llano, which lived on for another 20 years. \u003c/p>\n\u003cp>“We’re looking at the ruins of the colony now,” said Dydia DeLyser, a professor of geography and a Llano expert. “But it represents a time of real hope, and the earnest and sincere efforts of 1,000 or maybe 1,500 people who lived here, who sought to build a bright and different future.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Which is a lot like Los Angeles today — a place where people still move to start over, pursue their dreams and create a bit of paradise in the desert.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Coit Tower Reopens After Six-Month Renovation",
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"content": "\u003cfigure id=\"attachment_136104\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/IMG_43871.jpg\">\u003cimg class=\"size-medium wp-image-136104\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/IMG_43871-640x426.jpg\" alt=\"Coit Tower, San Francisco\" width=\"640\" height=\"426\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dozens attended a ribbon-cutting ceremony for the reopening of Coit Tower. (Mark Andrew Boyer/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Coit Tower, the iconic monolith punctuating Telegraph Hill, reopened today after a six-month renovation. During the closure, workers restored the tower's historic murals and made structural improvements to the 81-year-old landmark. San Francisco Recreation & Parks waived the normal elevator fee ($5 for residents and $7 for out-of-towners) for the day, inviting visitors to take in the 360-degree views from the top of the tower. Several politicians, including Supervisor David Chiu and Mayor Ed Lee, were on hand for a ceremonial ribbon-cutting, which took place under the stifling midday sun. \"These are historic landmarks in the city; they mean something to generations of people, and we have the privilege of reintroducing them to kids and generations of our own,\" said Lee.\u003c/p>\n\u003cfigure id=\"attachment_136055\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/IMG_4262.jpg\">\u003cimg class=\"size-medium wp-image-136055\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/IMG_4262-640x426.jpg\" alt=\"Michael Gorden, a docent for San Francisco City Guides, stands in front of one of Coit Tower's murals (Mark Andrew Boyer / KQED)\" width=\"640\" height=\"426\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Michael Gorden, a docent for San Francisco City Guides, stands in front of one of Coit Tower's murals (Mark Andrew Boyer/ KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>The view from the top of the tower is what draws crowds up to Telegraph Hill, but the murals covering the tower's first- and second-floor walls are also a big attraction. The first floor is open to the public, and the second floor can be viewed by private tour only. In all, 19 artists and 26 assistants produced the murals — many of which are frescos — through the New Deal's Public Works of Art Project. The influences of prominent early 20th century Mexican muralists, such as Diego Rivera, can be seen in the tower's 27 historic murals. They depict heavy industry, labor and chaotic street life of Depression-era California — a stark contrast to the quiet streets surrounding Coit Tower today. At least one mural, which contained communist symbolism, was removed before the tower opened in 1933. \"The significance of [the murals] is that they depict California industrial and agricultural life of the time,\" said volunteer docent Val Hendrickson. \"Within the murals you can see fomenting labor unrest and the effects of the Depression.\"\u003c/p>\n\u003cfigure id=\"attachment_136067\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/IMG_4297.jpg\">\u003cimg class=\"size-medium wp-image-136067\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/IMG_4297-640x426.jpg\" alt=\"An oil painting by Otis Oldfield covers the walls in the elevator foyer (Mark Andrew Boyer / KQED)\" width=\"640\" height=\"426\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">An oil painting by Otis Oldfield covers the walls in the elevator foyer (Mark Andrew Boyer/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>The murals were in pretty good shape prior to the restoration, according to Allison Cummings from the San Francisco Arts Commission, but some of them had been scratched, and several suffered water damage. Tower renovations, which coincided with the art restoration, should prevent future water damage from occurring. During the mural restoration, all of the frescoes were cleaned, making them look much brighter. Workers also did restoration work on the ceilings and the stucco borders around the murals. The total budget for fixing up the murals was about $450,000, which enabled a team of four restorationists to work on the project for about six weeks. \"There are no scratches, there are no white areas on the murals, and it looks as it did when it was painted 80 years ago,\" said Cummings.\u003c/p>\n\u003cfigure id=\"attachment_136083\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/IMG_4306.jpg\">\u003cimg class=\"size-medium wp-image-136083\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/IMG_4306-640x426.jpg\" alt=\"Postcards are on display in Coit Tower's new gift shop (Mark Andrew Boyer / KQED)\" width=\"640\" height=\"426\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Postcards are on display in Coit Tower's new gift shop (Mark Andrew Boyer/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>The murals weren't the only thing to get a face-lift during the six-month renovation. A new gift shop was added; the elevator was updated; restrooms were upgraded; the roof was replaced; brass railings to protect the murals were adjusted; doors were updated; and handrails were added outside. Workers installed scaffolding around the exterior of the tower, and they used binoculars in order to identify cracks, according to Toks Ajike, a project manager for S.F. Rec & Parks. Those cracks are what enabled water to infiltrate the building over time. \"It's an old, delicate structure, and over time historic structures require a level of care,\" said Ajike.\u003c/p>\n\u003cfigure id=\"attachment_136089\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/IMG_4370.jpg\">\u003cimg class=\"size-medium wp-image-136089\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/IMG_4370-640x426.jpg\" alt=\"Coit Tower reopened on May 14, after a six-month renovation (Mark Andrew Boyer / KQED)\" width=\"640\" height=\"426\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Coit Tower reopened on May 14, after a six-month renovation (Mark Andrew Boyer/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Fixing up historic structures is never quite as simple as it appears, and the renovation team ended up doing a little more work than was originally planned. The paint on the ceiling of the gallery was failing, and it contained hazardous materials, like asbestos and lead. That required workers to do some abatement before it could be replastered and repainted. Those unforeseen challenges, combined with some new features, such as dramatic new exterior lighting, caused the renovation budget to climb from $1.1 million to about $1.6 million. New colored LED lights will be programmed and ready to use within the next few weeks, said project manager Matt Jasmin.\u003c/p>\n\u003cfigure id=\"attachment_136102\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/IMG_4332.jpg\">\u003cimg class=\"size-medium wp-image-136102\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/IMG_4332-640x426.jpg\" alt=\"Coit Tower, San Francisco\" width=\"640\" height=\"426\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The view from near the top of Coit Tower (Mark Andrew Boyer/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_136104\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/IMG_43871.jpg\">\u003cimg class=\"size-medium wp-image-136104\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/IMG_43871-640x426.jpg\" alt=\"Coit Tower, San Francisco\" width=\"640\" height=\"426\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dozens attended a ribbon-cutting ceremony for the reopening of Coit Tower. (Mark Andrew Boyer/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Coit Tower, the iconic monolith punctuating Telegraph Hill, reopened today after a six-month renovation. During the closure, workers restored the tower's historic murals and made structural improvements to the 81-year-old landmark. San Francisco Recreation & Parks waived the normal elevator fee ($5 for residents and $7 for out-of-towners) for the day, inviting visitors to take in the 360-degree views from the top of the tower. Several politicians, including Supervisor David Chiu and Mayor Ed Lee, were on hand for a ceremonial ribbon-cutting, which took place under the stifling midday sun. \"These are historic landmarks in the city; they mean something to generations of people, and we have the privilege of reintroducing them to kids and generations of our own,\" said Lee.\u003c/p>\n\u003cfigure id=\"attachment_136055\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/IMG_4262.jpg\">\u003cimg class=\"size-medium wp-image-136055\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/IMG_4262-640x426.jpg\" alt=\"Michael Gorden, a docent for San Francisco City Guides, stands in front of one of Coit Tower's murals (Mark Andrew Boyer / KQED)\" width=\"640\" height=\"426\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Michael Gorden, a docent for San Francisco City Guides, stands in front of one of Coit Tower's murals (Mark Andrew Boyer/ KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>The view from the top of the tower is what draws crowds up to Telegraph Hill, but the murals covering the tower's first- and second-floor walls are also a big attraction. The first floor is open to the public, and the second floor can be viewed by private tour only. In all, 19 artists and 26 assistants produced the murals — many of which are frescos — through the New Deal's Public Works of Art Project. The influences of prominent early 20th century Mexican muralists, such as Diego Rivera, can be seen in the tower's 27 historic murals. They depict heavy industry, labor and chaotic street life of Depression-era California — a stark contrast to the quiet streets surrounding Coit Tower today. At least one mural, which contained communist symbolism, was removed before the tower opened in 1933. \"The significance of [the murals] is that they depict California industrial and agricultural life of the time,\" said volunteer docent Val Hendrickson. \"Within the murals you can see fomenting labor unrest and the effects of the Depression.\"\u003c/p>\n\u003cfigure id=\"attachment_136067\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/IMG_4297.jpg\">\u003cimg class=\"size-medium wp-image-136067\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/IMG_4297-640x426.jpg\" alt=\"An oil painting by Otis Oldfield covers the walls in the elevator foyer (Mark Andrew Boyer / KQED)\" width=\"640\" height=\"426\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">An oil painting by Otis Oldfield covers the walls in the elevator foyer (Mark Andrew Boyer/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>The murals were in pretty good shape prior to the restoration, according to Allison Cummings from the San Francisco Arts Commission, but some of them had been scratched, and several suffered water damage. Tower renovations, which coincided with the art restoration, should prevent future water damage from occurring. During the mural restoration, all of the frescoes were cleaned, making them look much brighter. Workers also did restoration work on the ceilings and the stucco borders around the murals. The total budget for fixing up the murals was about $450,000, which enabled a team of four restorationists to work on the project for about six weeks. \"There are no scratches, there are no white areas on the murals, and it looks as it did when it was painted 80 years ago,\" said Cummings.\u003c/p>\n\u003cfigure id=\"attachment_136083\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/IMG_4306.jpg\">\u003cimg class=\"size-medium wp-image-136083\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/IMG_4306-640x426.jpg\" alt=\"Postcards are on display in Coit Tower's new gift shop (Mark Andrew Boyer / KQED)\" width=\"640\" height=\"426\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Postcards are on display in Coit Tower's new gift shop (Mark Andrew Boyer/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>The murals weren't the only thing to get a face-lift during the six-month renovation. A new gift shop was added; the elevator was updated; restrooms were upgraded; the roof was replaced; brass railings to protect the murals were adjusted; doors were updated; and handrails were added outside. Workers installed scaffolding around the exterior of the tower, and they used binoculars in order to identify cracks, according to Toks Ajike, a project manager for S.F. Rec & Parks. Those cracks are what enabled water to infiltrate the building over time. \"It's an old, delicate structure, and over time historic structures require a level of care,\" said Ajike.\u003c/p>\n\u003cfigure id=\"attachment_136089\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/IMG_4370.jpg\">\u003cimg class=\"size-medium wp-image-136089\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/IMG_4370-640x426.jpg\" alt=\"Coit Tower reopened on May 14, after a six-month renovation (Mark Andrew Boyer / KQED)\" width=\"640\" height=\"426\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Coit Tower reopened on May 14, after a six-month renovation (Mark Andrew Boyer/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Fixing up historic structures is never quite as simple as it appears, and the renovation team ended up doing a little more work than was originally planned. The paint on the ceiling of the gallery was failing, and it contained hazardous materials, like asbestos and lead. That required workers to do some abatement before it could be replastered and repainted. Those unforeseen challenges, combined with some new features, such as dramatic new exterior lighting, caused the renovation budget to climb from $1.1 million to about $1.6 million. New colored LED lights will be programmed and ready to use within the next few weeks, said project manager Matt Jasmin.\u003c/p>\n\u003cfigure id=\"attachment_136102\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/IMG_4332.jpg\">\u003cimg class=\"size-medium wp-image-136102\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/IMG_4332-640x426.jpg\" alt=\"Coit Tower, San Francisco\" width=\"640\" height=\"426\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The view from near the top of Coit Tower (Mark Andrew Boyer/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Recall That Ice Cream Truck Song? We Have Unpleasant News For You",
"headTitle": "Recall That Ice Cream Truck Song? We Have Unpleasant News For You | KQED",
"content": "\u003cp>\u003cem>EDITOR'S NOTE: This article is about a virulently, racist song. Read no further if you wish to avoid racist imagery and slurs.\u003c/em>\u003c/p>\n\u003cp>\"[N****] Love A Watermelon Ha! Ha! Ha!\" merits the distinction of the most racist song title in America. Released in March, 1916, by Columbia Records it was written by actor Harry C. Browne and played on the familiar depiction of black people as mindless beasts of burden greedily devouring slices of watermelon.\u003c/p>\n\u003cp>I came across this gem while researching racial stereotypes. I was a bit conflicted on whether the song warranted a listen. Admittedly though, beneath my righteous indignation, I was rather curious how century-old, overt racism sounded and slightly amused by the farcical title. When I started the song, the music that tumbled from the speakers was that of the ever-recognizable jingle of the \u003ca href=\"http://www.youtube.com/watch?v=CZB6WXDuM1g\">ice cream truck\u003c/a> (For the record, not all ice cream trucks play this same song, but a great many of them do.)\u003c/p>\n\u003cp>As quickly as it began, the music paused, and this call-and-response ensued:\u003c/p>\n\u003cblockquote>\n\u003cp>Browne: \"You n******s quit throwin' them bones and come down and get your ice cream!\"\u003c/p>\n\u003cp>Black men (incredulously): \"Ice Cream?!?\"\u003c/p>\n\u003cp>Browne: \"Yes, ice cream! Colored man's ice cream: WATERMELON!!\"\u003c/p>\n\u003cp>My mouth dropped. The music immediately resumed and so did the racism. I soon realized that the ice cream truck song was forever ruined for me, especially once the chorus began:\u003c/p>\n\u003cp>N***** love a watermelon ha ha, ha ha!\u003c/p>\n\u003cp>N***** love a watermelon ha ha, ha ha!\u003c/p>\n\u003cp>For here, they're made with a half a pound of co'l\u003c/p>\n\u003cp>There's nothing like a watermelon for a hungry coon\u003c/p>\n\u003c/blockquote>\n\u003cp>https://www.youtube.com/watch?v=Ebh6x6Bze_0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Origin of the song\u003c/strong>\u003c/p>\n\u003cp>I wondered how such a prejudiced song could have become the anthem of ice cream and childhood summers. I learned that though Mr. Browne was fairly creative in his lyrics, the song's premise and its melody are nearly as old as America itself. As often happens with matters of race, something that is rather \u003ca href=\"http://www.npr.org/blogs/codeswitch/2014/03/23/291525991/when-vanilla-was-brown-and-how-we-came-to-see-it-as-white\">vanilla\u003c/a> in origin is coopted and sprinkled with malice along the way.\u003c/p>\n\u003cp>For his creation, Browne simply used the well-known melody of the early nineteenth-century song \"\u003ca href=\"http://www.youtube.com/watch?v=VsnZxfkkoKQ\">Turkey in the Straw\u003c/a>,\" which dates back to the even older and traditional British song \"\u003ca href=\"http://www.youtube.com/watch?v=etQ7knwsglU\">The (Old) Rose Tree\u003c/a>.\" The tune was brought to America's colonies by Scots-Irish immigrants who settled along the Appalachian Trail and added lyrics that mirrored their new lifestyle.\u003c/p>\n\u003cp>The first and natural inclination, of course, is to assume that the ice cream truck song is simply paying homage to \"Turkey in the Straw,\" but the melody reached the nation only after it was appropriated by traveling blackface minstrel shows. There is simply no divorcing the song from the dozens of decades it was almost exclusively used for coming up with new ways to ridicule, and profit from, black people.\u003c/p>\n\u003cp>\u003cstrong>Blackface minstrels steal the show\u003c/strong>\u003c/p>\n\u003cp>In the late 1820s, the music was given new lyrics that dripped with racism and titled \"\u003ca href=\"http://www.youtube.com/watch?v=C0i9XMyTw-o\">Zip Coon\u003c/a>.\" The blackface character of the same name parodied a free black man attempting to conform to white high society by dressing in fine clothes and using big words. Fifty years later in antebellum America, the character became an archetype of the black urbanite and propelled minstrel shows to the height of their popularity. Zip Coon was the city slicker counterpart to the dimwitted, rural blackface character whose name became infamous in 20th century America — Jim Crow. These two characters would often interact on stage and were the inspiration for the hugely successful Amos 'n' Andy act decades later.\u003c/p>\n\u003cp>The lyrics of \"Zip Coon\" follow the namesake through encounters with possums, playing the banjo, and courting a woman whose skin was so black that he calls her \"ol Suky blue skin.\" A century later, it was still celebrated and inspiring America's music. The recognizable melody aside, we've all sung a variation of the lyrics. The chorus goes:\u003c/p>\n\u003cblockquote>\n\u003cp>O zip a duden duden duden zip a duden day.\u003c/p>\n\u003c/blockquote>\n\u003cp>(If this sounds similar to the Academy Award winning \"\u003ca href=\"http://www.youtube.com/watch?v=LcxYwwIL5zQ\">Zip-A-Dee-Doo-Dah\u003c/a>,\" it's because that song was derived from this chorus)\u003c/p>\n\u003cp>At the turn of the twentieth century, one of the nation's \u003ca href=\"http://www.ferris.edu/htmls/news/jimcrow/index.htm\">most popular collectibles was the coon card\u003c/a> — a postcard with racist artwork, such as bug-eyed, clown-faced blacks eating watermelon. These items were essentially the racist version of trading cards and nearly ubiquitous. Browne meshed the theme of the popular coon cards with the familiar melody and voila: \"N***** Love a Watermelon Ha! Ha! Ha!\"\u003c/p>\n\u003cp>The ice cream cross-over happened concurrently. Nineteenth-century ice cream parlors played the popular minstrel songs of the day. After World War II, the advent of the automobile and the ensuing sprawl required parlors to devise a way to take their products to the customers. The ice cream truck was the solution and a music box was installed in them as a way to announce their presence in neighborhoods. Naturally, the traditional minstrel tunes of the previous century were employed to evoke the memorable parlor experience.\u003c/p>\n\u003cp>And this is the story of why our beloved ice cream truck plays blackface minstrel music that sends kids dashing into homes in a Pavlovian frenzy searching for money to buy a popsicle.\u003c/p>\n\u003cp>\u003cstrong>Race, ice cream and America\u003c/strong>\u003c/p>\n\u003cp>Here in the nation's capital, the cherry blossoms have come and gone. This means the warm weather will soon bring out the ice cream trucks, and I'll be confronted once again by its inconvenient truth. It's not new knowledge that matters of race permeate the depths of our history and infiltrate the most innocent of experiences, even the simple pleasure of ice cream (Who can forget Eddie Murphy's famous, NSFW routine about \u003ca href=\"http://www.youtube.com/watch?v=Vg-csjbwo5s\">the poor, black experience with ice cream trucks\u003c/a>?). However, when the reach of racism robs me of fond memories from my childhood, it feels intensely personal again.\u003c/p>\n\u003cp>Whenever I hear the music now, the antique voice laughing about n******s and watermelon fills my head. I can live with this, but what's to be done on the summer day when my children's eyes light up at the far-off sound of the familiar melody, and they dash in a frenzy towards me for change? Do I empower them with the history of our country or encourage the youthful exuberance induced by the ice cream truck? Is it my responsibility to foul the sweet taste of ice cream with their first taste of racism?\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The answer is intellectually complex, but parental intuition provides clarity. When teeth fall out, I blame the dollar under their pillow on the tooth fairy. When presents appear overnight under the fir tree, I say Santa Claus is the culprit. And so when a song about n******s and watermelon fills the suburban air, I will smile and hand over money from my pocket. The sight of my children enjoying a Good Humor ice cream bar will fight back the racist song that lampooned black people who happened to be in good humor. The delivery of the cold hard truth can wait until another day.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Recall+That+Ice+Cream+Truck+Song%3F+We+Have+Unpleasant+News+For+You&utme=8(APIKey)9(MDA1OTI3MjQ5MDEyODUwMTE2MzM1YzNmZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>EDITOR'S NOTE: This article is about a virulently, racist song. Read no further if you wish to avoid racist imagery and slurs.\u003c/em>\u003c/p>\n\u003cp>\"[N****] Love A Watermelon Ha! Ha! Ha!\" merits the distinction of the most racist song title in America. Released in March, 1916, by Columbia Records it was written by actor Harry C. Browne and played on the familiar depiction of black people as mindless beasts of burden greedily devouring slices of watermelon.\u003c/p>\n\u003cp>I came across this gem while researching racial stereotypes. I was a bit conflicted on whether the song warranted a listen. Admittedly though, beneath my righteous indignation, I was rather curious how century-old, overt racism sounded and slightly amused by the farcical title. When I started the song, the music that tumbled from the speakers was that of the ever-recognizable jingle of the \u003ca href=\"http://www.youtube.com/watch?v=CZB6WXDuM1g\">ice cream truck\u003c/a> (For the record, not all ice cream trucks play this same song, but a great many of them do.)\u003c/p>\n\u003cp>As quickly as it began, the music paused, and this call-and-response ensued:\u003c/p>\n\u003cblockquote>\n\u003cp>Browne: \"You n******s quit throwin' them bones and come down and get your ice cream!\"\u003c/p>\n\u003cp>Black men (incredulously): \"Ice Cream?!?\"\u003c/p>\n\u003cp>Browne: \"Yes, ice cream! Colored man's ice cream: WATERMELON!!\"\u003c/p>\n\u003cp>My mouth dropped. The music immediately resumed and so did the racism. I soon realized that the ice cream truck song was forever ruined for me, especially once the chorus began:\u003c/p>\n\u003cp>N***** love a watermelon ha ha, ha ha!\u003c/p>\n\u003cp>N***** love a watermelon ha ha, ha ha!\u003c/p>\n\u003cp>For here, they're made with a half a pound of co'l\u003c/p>\n\u003cp>There's nothing like a watermelon for a hungry coon\u003c/p>\n\u003c/blockquote>\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/Ebh6x6Bze_0'\n title='//www.youtube.com/embed/Ebh6x6Bze_0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Origin of the song\u003c/strong>\u003c/p>\n\u003cp>I wondered how such a prejudiced song could have become the anthem of ice cream and childhood summers. I learned that though Mr. Browne was fairly creative in his lyrics, the song's premise and its melody are nearly as old as America itself. As often happens with matters of race, something that is rather \u003ca href=\"http://www.npr.org/blogs/codeswitch/2014/03/23/291525991/when-vanilla-was-brown-and-how-we-came-to-see-it-as-white\">vanilla\u003c/a> in origin is coopted and sprinkled with malice along the way.\u003c/p>\n\u003cp>For his creation, Browne simply used the well-known melody of the early nineteenth-century song \"\u003ca href=\"http://www.youtube.com/watch?v=VsnZxfkkoKQ\">Turkey in the Straw\u003c/a>,\" which dates back to the even older and traditional British song \"\u003ca href=\"http://www.youtube.com/watch?v=etQ7knwsglU\">The (Old) Rose Tree\u003c/a>.\" The tune was brought to America's colonies by Scots-Irish immigrants who settled along the Appalachian Trail and added lyrics that mirrored their new lifestyle.\u003c/p>\n\u003cp>The first and natural inclination, of course, is to assume that the ice cream truck song is simply paying homage to \"Turkey in the Straw,\" but the melody reached the nation only after it was appropriated by traveling blackface minstrel shows. There is simply no divorcing the song from the dozens of decades it was almost exclusively used for coming up with new ways to ridicule, and profit from, black people.\u003c/p>\n\u003cp>\u003cstrong>Blackface minstrels steal the show\u003c/strong>\u003c/p>\n\u003cp>In the late 1820s, the music was given new lyrics that dripped with racism and titled \"\u003ca href=\"http://www.youtube.com/watch?v=C0i9XMyTw-o\">Zip Coon\u003c/a>.\" The blackface character of the same name parodied a free black man attempting to conform to white high society by dressing in fine clothes and using big words. Fifty years later in antebellum America, the character became an archetype of the black urbanite and propelled minstrel shows to the height of their popularity. Zip Coon was the city slicker counterpart to the dimwitted, rural blackface character whose name became infamous in 20th century America — Jim Crow. These two characters would often interact on stage and were the inspiration for the hugely successful Amos 'n' Andy act decades later.\u003c/p>\n\u003cp>The lyrics of \"Zip Coon\" follow the namesake through encounters with possums, playing the banjo, and courting a woman whose skin was so black that he calls her \"ol Suky blue skin.\" A century later, it was still celebrated and inspiring America's music. The recognizable melody aside, we've all sung a variation of the lyrics. The chorus goes:\u003c/p>\n\u003cblockquote>\n\u003cp>O zip a duden duden duden zip a duden day.\u003c/p>\n\u003c/blockquote>\n\u003cp>(If this sounds similar to the Academy Award winning \"\u003ca href=\"http://www.youtube.com/watch?v=LcxYwwIL5zQ\">Zip-A-Dee-Doo-Dah\u003c/a>,\" it's because that song was derived from this chorus)\u003c/p>\n\u003cp>At the turn of the twentieth century, one of the nation's \u003ca href=\"http://www.ferris.edu/htmls/news/jimcrow/index.htm\">most popular collectibles was the coon card\u003c/a> — a postcard with racist artwork, such as bug-eyed, clown-faced blacks eating watermelon. These items were essentially the racist version of trading cards and nearly ubiquitous. Browne meshed the theme of the popular coon cards with the familiar melody and voila: \"N***** Love a Watermelon Ha! Ha! Ha!\"\u003c/p>\n\u003cp>The ice cream cross-over happened concurrently. Nineteenth-century ice cream parlors played the popular minstrel songs of the day. After World War II, the advent of the automobile and the ensuing sprawl required parlors to devise a way to take their products to the customers. The ice cream truck was the solution and a music box was installed in them as a way to announce their presence in neighborhoods. Naturally, the traditional minstrel tunes of the previous century were employed to evoke the memorable parlor experience.\u003c/p>\n\u003cp>And this is the story of why our beloved ice cream truck plays blackface minstrel music that sends kids dashing into homes in a Pavlovian frenzy searching for money to buy a popsicle.\u003c/p>\n\u003cp>\u003cstrong>Race, ice cream and America\u003c/strong>\u003c/p>\n\u003cp>Here in the nation's capital, the cherry blossoms have come and gone. This means the warm weather will soon bring out the ice cream trucks, and I'll be confronted once again by its inconvenient truth. It's not new knowledge that matters of race permeate the depths of our history and infiltrate the most innocent of experiences, even the simple pleasure of ice cream (Who can forget Eddie Murphy's famous, NSFW routine about \u003ca href=\"http://www.youtube.com/watch?v=Vg-csjbwo5s\">the poor, black experience with ice cream trucks\u003c/a>?). However, when the reach of racism robs me of fond memories from my childhood, it feels intensely personal again.\u003c/p>\n\u003cp>Whenever I hear the music now, the antique voice laughing about n******s and watermelon fills my head. I can live with this, but what's to be done on the summer day when my children's eyes light up at the far-off sound of the familiar melody, and they dash in a frenzy towards me for change? Do I empower them with the history of our country or encourage the youthful exuberance induced by the ice cream truck? Is it my responsibility to foul the sweet taste of ice cream with their first taste of racism?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cimg class=\"alignright wp-image-135756 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/whyistay1-300x300.jpg\" alt=\"\" width=\"300\" height=\"300\">\u003c/p>\n\u003cp>A recent \u003ca href=\"http://www.gallup.com/poll/168770/half-illinois-connecticut-move-elsewhere.aspx\" target=\"_blank\">Gallup Poll\u003c/a> found that 14 percent of Californians plan on moving to a new state within the next 12 months. And 34 percent of residents would \u003cem>like\u003c/em> to move if given the opportunity.\u003c/p>\n\u003cp>That puts California well above the nationwide average (6 percent) of people who will probably relocate and slightly above the U.S. average (34 percent) for those who would like to pack up and go. Although the state is not in the top 10 in either category, it's also not an oasis of complacency and contentment.\u003c/p>\n\u003cp>Are you wanting to leave? If not, what makes you stay?\u003c/p>\n\u003cp>KQED is partnering with public media stations around the country to explore what keeps people in place or what motivates them to move. Do you love California's natural beauty? Or are you tired of paying so much for housing? No matter what your story is, we want to hear it on Instagram or Twitter.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>How You Can Participate:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>Snap a photo that illustrates why you stay or what is driving you to move.\u003c/li>\n\u003cli>Use the hashtag \u003cstrong>\u003ca href=\"http://searchinstagram.com/whyistay\" target=\"_blank\">#WhyIStay\u003c/a>\u003c/strong> when you post it to Instagram or Twitter.\u003c/li>\n\u003cli>Tell us your story in a few sentences.\u003c/li>\n\u003cli>Include which Bay Area city you're living in.\u003c/li>\n\u003cli>Tag us: \u003ca href=\"http://instagram.com/kqednews\" target=\"_blank\">@kqednews\u003c/a>. We may regram your pic! (Tip: While you're at it, be sure to follow our main account, \u003ca href=\"http://instagram.com/kqedofficial\" target=\"_blank\">@KQEDofficial \u003c/a>)\u003c/li>\n\u003c/ul>\n\u003cp>We'll compile some of our favorites and share them on May 23.\u003c/p>\n\u003cp>Be sure to check out our partners in this project on Instagram:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>WFAE (Charlotte, N.C.) -\u003c/strong> \u003ca href=\"http://instagram.com/wfaepublicradio\" target=\"_blank\">@wfaepublicradio\u003c/a>\u003cbr>\n\u003cstrong>Boise State Public Radio -\u003c/strong> @\u003ca href=\"http://instagram.com/boisestatepublicradio\" target=\"_blank\">boisestatepublicradio\u003c/a>\u003cbr>\n\u003cstrong>WBUR (Boston, Mass.) - \u003c/strong>@\u003ca href=\"http://instagram.com/wbur\" target=\"_blank\">wbur\u003c/a>\u003cbr>\n\u003cstrong>WESA (Pittsburgh, Pa.) - \u003c/strong>@\u003ca href=\"http://instagram.com/905wesa\" target=\"_blank\">905wesa\u003c/a>\u003cbr>\n\u003cstrong>St. Louis Public Radio - \u003c/strong>@\u003ca href=\"http://instagram.com/stlpublicradio\" target=\"_blank\">stlpublicradio\u003c/a>\u003cbr>\n\u003cstrong>Michigan Radio - \u003c/strong>@\u003ca href=\"http://instagram.com/michiganradio\" target=\"_blank\">michiganradio\u003c/a>\u003cbr>\n\u003cstrong>KUOW (Puget Sound Region, Wash.) - \u003c/strong>@\u003ca href=\"http://instagram.com/kuow\" target=\"_blank\">kuow\u003c/a>\u003cstrong>\u003cbr>\n\u003c/strong>\u003cstrong>WNYC (New York, N.Y.) - \u003c/strong>@\u003ca href=\"http://instagram.com/wnyc\" target=\"_blank\">wnyc\u003c/a>\u003cbr>\n\u003cstrong>WVEP (West Virginia) - \u003c/strong>@\u003ca href=\"http://instagram.com/wvpublicnews\" target=\"_blank\">wvpublicnews\u003c/a>\u003cbr>\n\u003cstrong>WLRN (Miami, Fl.) - \u003c/strong>@\u003ca href=\"http://instagram.com/wlrn\" target=\"_blank\">wlrn\u003c/a>\u003cbr>\n\u003cstrong>KTOO (Juneau, Alaska) - \u003c/strong>@\u003ca href=\"http://instagram.com/ktoopubmedia\" target=\"_blank\">ktoopubmedia \u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>How You Can Participate:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>Snap a photo that illustrates why you stay or what is driving you to move.\u003c/li>\n\u003cli>Use the hashtag \u003cstrong>\u003ca href=\"http://searchinstagram.com/whyistay\" target=\"_blank\">#WhyIStay\u003c/a>\u003c/strong> when you post it to Instagram or Twitter.\u003c/li>\n\u003cli>Tell us your story in a few sentences.\u003c/li>\n\u003cli>Include which Bay Area city you're living in.\u003c/li>\n\u003cli>Tag us: \u003ca href=\"http://instagram.com/kqednews\" target=\"_blank\">@kqednews\u003c/a>. We may regram your pic! (Tip: While you're at it, be sure to follow our main account, \u003ca href=\"http://instagram.com/kqedofficial\" target=\"_blank\">@KQEDofficial \u003c/a>)\u003c/li>\n\u003c/ul>\n\u003cp>We'll compile some of our favorites and share them on May 23.\u003c/p>\n\u003cp>Be sure to check out our partners in this project on Instagram:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>WFAE (Charlotte, N.C.) -\u003c/strong> \u003ca href=\"http://instagram.com/wfaepublicradio\" target=\"_blank\">@wfaepublicradio\u003c/a>\u003cbr>\n\u003cstrong>Boise State Public Radio -\u003c/strong> @\u003ca href=\"http://instagram.com/boisestatepublicradio\" target=\"_blank\">boisestatepublicradio\u003c/a>\u003cbr>\n\u003cstrong>WBUR (Boston, Mass.) - \u003c/strong>@\u003ca href=\"http://instagram.com/wbur\" target=\"_blank\">wbur\u003c/a>\u003cbr>\n\u003cstrong>WESA (Pittsburgh, Pa.) - \u003c/strong>@\u003ca href=\"http://instagram.com/905wesa\" target=\"_blank\">905wesa\u003c/a>\u003cbr>\n\u003cstrong>St. Louis Public Radio - \u003c/strong>@\u003ca href=\"http://instagram.com/stlpublicradio\" target=\"_blank\">stlpublicradio\u003c/a>\u003cbr>\n\u003cstrong>Michigan Radio - \u003c/strong>@\u003ca href=\"http://instagram.com/michiganradio\" target=\"_blank\">michiganradio\u003c/a>\u003cbr>\n\u003cstrong>KUOW (Puget Sound Region, Wash.) - \u003c/strong>@\u003ca href=\"http://instagram.com/kuow\" target=\"_blank\">kuow\u003c/a>\u003cstrong>\u003cbr>\n\u003c/strong>\u003cstrong>WNYC (New York, N.Y.) - \u003c/strong>@\u003ca href=\"http://instagram.com/wnyc\" target=\"_blank\">wnyc\u003c/a>\u003cbr>\n\u003cstrong>WVEP (West Virginia) - \u003c/strong>@\u003ca href=\"http://instagram.com/wvpublicnews\" target=\"_blank\">wvpublicnews\u003c/a>\u003cbr>\n\u003cstrong>WLRN (Miami, Fl.) - \u003c/strong>@\u003ca href=\"http://instagram.com/wlrn\" target=\"_blank\">wlrn\u003c/a>\u003cbr>\n\u003cstrong>KTOO (Juneau, Alaska) - \u003c/strong>@\u003ca href=\"http://instagram.com/ktoopubmedia\" target=\"_blank\">ktoopubmedia \u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "'Documented': Bay Area Native Jose Antonio Vargas on New Film",
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"content": "\u003cp>\u003cstrong>By Thuy Vu\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_135578\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/jose-antonio-vargas.jpg\">\u003cimg class=\"size-full wp-image-135578\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/jose-antonio-vargas.jpg\" alt=\"Jose Antonio Vargas testifies during a Senate Judiciary Committee hearing on 'Comprehensive Immigration Reform,' February, 2013 Hill in Washington DC. (Allison Shelley/Getty Images)\" width=\"640\" height=\"427\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jose Antonio Vargas testifies during a Senate Judiciary Committee hearing on 'Comprehensive Immigration Reform' in February, 2013. (Allison Shelley/Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>You might call him the accidental immigration activist. After attending school in Mountain View and graduating from San Francisco State University, Jose Antonio Vargas had a successful career as a journalist. He worked at the Huffington Post, the New Yorker and the Washington Post, where he shared a 2008 Pulitzer Prize for coverage of the Virginia Tech shootings.\u003c/p>\n\u003cp>Through it all, he hid a secret. He was in this country illegally.\u003c/p>\n\u003cp>In 2011, Vargas revealed his status in a \u003ca href=\"http://www.nytimes.com/2011/06/26/magazine/my-life-as-an-undocumented-immigrant.html?pagewanted=all&_r=0\" target=\"_blank\">New York Times Magazine essay\u003c/a> and has since become an immigration advocate. His new film, \u003ca href=\"http://documentedthefilm.com/\" target=\"_blank\">“Documented,”\u003c/a> chronicles his life story.\u003c/p>\n\u003cdiv class=\"single-video\">[youtube http://www.youtube.com/watch?v=FElg8E16LeU?list=UUdvJOtQkB2DL2kEpD1FozQg&w=450&h=253]\u003c/div>\n\u003cp>Vargas' mother sent him from the Philippines to live with his grandparents in the Bay Area when he was 12. He learned he wasn't living in the country legally only when he was 16 and tried to apply for a driver’s license. He hasn’t seen his mother in person in 20 years.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In an interview for \u003cem>\u003ca href=\"http://www.kqed.org/tv/programs/newsroom/\" target=\"_blank\">KQED NEWSROOM\u003c/a>\u003c/em>, Vargas told me he decided to make the documentary to highlight how it feels to live in this country without papers. “I wanted to humanize this political debate in the most compelling way I could,” he said. “What does it mean to pledge allegiance to a flag since you’re 12, a flag that you find out doesn’t belong to you?”\u003c/p>\n\u003caside class=\"right long\">\n\u003ch3>Define American: \"The Pledge\"\u003c/h3>\n\u003cdiv class=\"single-video\">[youtube http://www.youtube.com/watch?v=6iVirOltugE&w=560&h=315]\u003c/div>\n\u003cp>Vargas helped start \u003ca href=\"http://www.defineamerican.com\" target=\"_blank\">\"Define American,\"\u003c/a> a campaign \"about asking how we define what it means to be American, and elevating the conversation about how we engage as citizens.\"\u003c/p>\n\u003c/aside>\n\u003cp>Vargas’ plight has drawn \u003ca href=\"http://ww2.kqed.org/news/2013/08/06/105836/Mark-Zuckerberg-immigration-Jose-Vargas-Joe-Green\" target=\"_blank\">many big-name supporters\u003c/a>, including Facebook founder Mark Zuckerberg and the immigration reform advocacy group \u003ca href=\"http://www.fwd.us/\" target=\"_blank\">FWD.us\u003c/a>. He’s also attracted many critics who contend he’s illegal, has repeatedly broken the law and should be deported. Vargas says he’s still here because “there’s been silence from the government. I haven’t heard from them.”\u003c/p>\n\u003cp>Immigration reform is stalled in Congress, but the issue continues to make headlines. This week, the federal government rejected California’s initial design for \u003ca href=\"http://ww2.kqed.org/news/2012/10/01/brown-signs-drivers-license-bill-for-undocumented-immigrants-vetoes-deportation-limits/\" target=\"_blank\">driver’s licenses that would be offered to undocumented immigrants \u003c/a>beginning next year. Meanwhile, Florida is expected to soon join 19 other states to make in-state college tuition available to undocumented youth.\u003c/p>\n\u003cp>Vargas believes immigration reform will ultimately happen not through Congress, but state by state. He also doesn’t want to just change the politics of the movement, but the culture around it, by transforming how undocumented immigrants are perceived in pop culture.\u003c/p>\n\u003cp>“The immigration conversation has been stuck in the Mexico-Latino-border situation for so long,” he says. “How do I break that and transcend that conversation?”\u003c/p>\n\u003cp>Vargas’ film, “Documented,” opens on May 16 in theaters in San Francisco, Berkeley and Sebastopol.\u003c/p>\n\u003cdiv class=\"single-video\"> [youtube http://www.youtube.com/watch?v=SYJ28AZPxZE&w=560&h=315] \u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.kqed.org/tv/programs/newsroom/\" target=\"_blank\">KQED NEWSROOM\u003c/a> is a weekly news magazine program on television, radio and online. Watch Fridays at 8 p.m. on KQED Public Television 9, listen on Sundays at 6 p.m. on KQED Public Radio 88.5 FM and watch on demand \u003ca href=\"http://www.kqed.org/tv/programs/newsroom/\" target=\"_blank\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>By Thuy Vu\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_135578\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/jose-antonio-vargas.jpg\">\u003cimg class=\"size-full wp-image-135578\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/jose-antonio-vargas.jpg\" alt=\"Jose Antonio Vargas testifies during a Senate Judiciary Committee hearing on 'Comprehensive Immigration Reform,' February, 2013 Hill in Washington DC. (Allison Shelley/Getty Images)\" width=\"640\" height=\"427\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jose Antonio Vargas testifies during a Senate Judiciary Committee hearing on 'Comprehensive Immigration Reform' in February, 2013. (Allison Shelley/Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>You might call him the accidental immigration activist. After attending school in Mountain View and graduating from San Francisco State University, Jose Antonio Vargas had a successful career as a journalist. He worked at the Huffington Post, the New Yorker and the Washington Post, where he shared a 2008 Pulitzer Prize for coverage of the Virginia Tech shootings.\u003c/p>\n\u003cp>Through it all, he hid a secret. He was in this country illegally.\u003c/p>\n\u003cp>In 2011, Vargas revealed his status in a \u003ca href=\"http://www.nytimes.com/2011/06/26/magazine/my-life-as-an-undocumented-immigrant.html?pagewanted=all&_r=0\" target=\"_blank\">New York Times Magazine essay\u003c/a> and has since become an immigration advocate. His new film, \u003ca href=\"http://documentedthefilm.com/\" target=\"_blank\">“Documented,”\u003c/a> chronicles his life story.\u003c/p>\n\u003cdiv class=\"single-video\">\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/FElg8E16LeU?list=UUdvJOtQkB2DL2kEpD1FozQg'\n title='//www.youtube.com/embed/FElg8E16LeU?list=UUdvJOtQkB2DL2kEpD1FozQg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\n\u003cp>Vargas' mother sent him from the Philippines to live with his grandparents in the Bay Area when he was 12. He learned he wasn't living in the country legally only when he was 16 and tried to apply for a driver’s license. He hasn’t seen his mother in person in 20 years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In an interview for \u003cem>\u003ca href=\"http://www.kqed.org/tv/programs/newsroom/\" target=\"_blank\">KQED NEWSROOM\u003c/a>\u003c/em>, Vargas told me he decided to make the documentary to highlight how it feels to live in this country without papers. “I wanted to humanize this political debate in the most compelling way I could,” he said. “What does it mean to pledge allegiance to a flag since you’re 12, a flag that you find out doesn’t belong to you?”\u003c/p>\n\u003caside class=\"right long\">\n\u003ch3>Define American: \"The Pledge\"\u003c/h3>\n\u003cdiv class=\"single-video\">\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/6iVirOltugE'\n title='//www.youtube.com/embed/6iVirOltugE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\n\u003cp>Vargas helped start \u003ca href=\"http://www.defineamerican.com\" target=\"_blank\">\"Define American,\"\u003c/a> a campaign \"about asking how we define what it means to be American, and elevating the conversation about how we engage as citizens.\"\u003c/p>\n\u003c/aside>\n\u003cp>Vargas’ plight has drawn \u003ca href=\"http://ww2.kqed.org/news/2013/08/06/105836/Mark-Zuckerberg-immigration-Jose-Vargas-Joe-Green\" target=\"_blank\">many big-name supporters\u003c/a>, including Facebook founder Mark Zuckerberg and the immigration reform advocacy group \u003ca href=\"http://www.fwd.us/\" target=\"_blank\">FWD.us\u003c/a>. He’s also attracted many critics who contend he’s illegal, has repeatedly broken the law and should be deported. Vargas says he’s still here because “there’s been silence from the government. I haven’t heard from them.”\u003c/p>\n\u003cp>Immigration reform is stalled in Congress, but the issue continues to make headlines. This week, the federal government rejected California’s initial design for \u003ca href=\"http://ww2.kqed.org/news/2012/10/01/brown-signs-drivers-license-bill-for-undocumented-immigrants-vetoes-deportation-limits/\" target=\"_blank\">driver’s licenses that would be offered to undocumented immigrants \u003c/a>beginning next year. Meanwhile, Florida is expected to soon join 19 other states to make in-state college tuition available to undocumented youth.\u003c/p>\n\u003cp>Vargas believes immigration reform will ultimately happen not through Congress, but state by state. He also doesn’t want to just change the politics of the movement, but the culture around it, by transforming how undocumented immigrants are perceived in pop culture.\u003c/p>\n\u003cp>“The immigration conversation has been stuck in the Mexico-Latino-border situation for so long,” he says. “How do I break that and transcend that conversation?”\u003c/p>\n\u003cp>Vargas’ film, “Documented,” opens on May 16 in theaters in San Francisco, Berkeley and Sebastopol.\u003c/p>\n\u003cdiv class=\"single-video\"> \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/SYJ28AZPxZE'\n title='//www.youtube.com/embed/SYJ28AZPxZE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp> \u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.kqed.org/tv/programs/newsroom/\" target=\"_blank\">KQED NEWSROOM\u003c/a> is a weekly news magazine program on television, radio and online. Watch Fridays at 8 p.m. on KQED Public Television 9, listen on Sundays at 6 p.m. on KQED Public Radio 88.5 FM and watch on demand \u003ca href=\"http://www.kqed.org/tv/programs/newsroom/\" target=\"_blank\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "casting-straight-outta-compton-the-movie",
"title": "Casting 'Straight Outta Compton,' the Movie",
"publishDate": 1399647642,
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"headTitle": "Casting ‘Straight Outta Compton,’ the Movie | KQED",
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"content": "\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/05/2014-05-09e-tcrmag.mp3\u003c/p>\n\u003cp>It’s been more than 25 years since the groundbreaking rap group NWA released the controversial album “\u003ca href=\"http://www.imdb.com/title/tt1398426/\" target=\"_blank\" rel=\"noopener\">Straight Outta Compton\u003c/a>.”\u003c/p>\n\u003cp>Beginning with the now-famous sentence, “You are now about to witness the strength of street knowledge,” the record is widely credited as launching the gangsta rap genre.\u003c/p>\n\u003cp>This summer production is scheduled to begin on a movie about the group’s rise to fame.\u003c/p>\n\u003cp>An open casting call for the film “Straight Outta Compton” was held recently in a crowded community center gymnasium in South Los Angeles, where NWA has its roots.\u003c/p>\n\u003cfigure id=\"attachment_10341797\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/NAWDreAud.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/NAWDreAud-400x450.jpg\" alt=\"Timothy Slater prepares to audition for the role of Ice Cube. (Avishay Artsy/KQED)\" width=\"400\" height=\"450\" class=\"size-thumbnail wp-image-10341797\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2014/09/NAWDreAud-400x450.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2014/09/NAWDreAud.jpg 600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Timothy Slater prepares to audition for the role of Ice Cube. (Avishay Artsy/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Hundreds of young African-American men showed up on a hot Sunday afternoon to audition for the film. Most were born after the album’s 1988 release. Many came dressed like NWA rapper Eazy-E, with his trademark black Raiders hat, Jheri curls, sunglasses and gold chains. Eazy-E died of AIDS in 1995 at the age of 31.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Joseph Word, 18, was here for his first-ever audition. Word wants to play NWA founding member Dr. Dre in the movie.\u003c/p>\n\u003cp>“I feel like he was the leader, and because they gave us stories about the ‘hood,” Word said. “Real stories about what was going on in the world at that time.”\u003c/p>\n\u003cp>In the era of Reagan, AIDS and the crack epidemic, the NWA song “F— tha Police” put NWA — and Compton — on the map. The FBI was worried enough to send the group’s label a warning letter. The anti-police rhetoric foreshadowed the Rodney King beating and the L.A. riots four years later.\u003c/p>\n\u003cp>“It teaches it’s not always good in the world, sometimes it’s gritty, sometimes it’s stank,” said Joe Bryant, 23, who grew up in Compton. “But you gotta suck it up and you really gotta hit your hustle or whatever you do, it’s legal or not legal, you gotta do it best that your capability, because if you don’t, you just gonna be a dog that got ate.”\u003c/p>\n\u003cp>That’s the attitude that F. Gary Gray, the director of the film “Straight Outta Compton,” is looking for.\u003c/p>\n\u003cp>“It’s just a certain thing that a person from the ‘hood has, you know. It’s just that thing,” Gray said. “You know, when you watch ‘American Idol’ and there’s that ‘it factor,’ there’s a hood factor, and you get the authenticity when you’re in environments like this when you have an open call, and I’m seeing it and I’m pretty happy with it.”\u003c/p>\n\u003cp>In interviews at the time, NWA liked to call themselves “street reporters.” But plenty of Compton residents didn’t like their message.\u003c/p>\n\u003cp>“Maybe some of the content of their messages, you know, black-on-black crime, or drugs, or things of that nature, that they didn’t really find that healthy,” said Ben “Taco” Owens, an ex-member of the Crips gang who now helps former gang members start over. “But basically for some others, they felt that they came real, they came raw, and told the story of what the hood life is like.”\u003c/p>\n\u003cfigure id=\"attachment_10341798\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/NWADreAudition.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/NWADreAudition-400x379.jpg\" alt=\"Joshua Miller tries out for the role of NWA member Dr. Dre, across from casting associate Nahisha Pettit. (Avishay Artsy/KQED)\" width=\"400\" height=\"379\" class=\"size-thumbnail wp-image-10341798\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2014/09/NWADreAudition-400x379.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2014/09/NWADreAudition.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joshua Miller tries out for the role of NWA member Dr. Dre, across from casting associate Nahisha Pettit. (Avishay Artsy/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>The homicide rate in Compton is down by half since 2000, although violent crime is still more than double the national average. A quarter of its residents lives below the poverty line. The factors that helped make NWA a possibility are still very present today.\u003c/p>\n\u003cp>“It’s not unlike ‘The Social Network’ or ‘American Graffiti,’ where you take a place and time in America, and you see the pivot that America took in entertainment,” said filmmaker Gray. “We went from Madonna, Michael Jackson and Prince to hip-hop, and this is the time that marks that shift in that era.”\u003c/p>\n\u003cp>With the release of this movie, NWA’s story is poised to reach a much wider audience. The film’s production company, Universal, plans to release “Straight Outta Compton” in 2015.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More: \u003ca href=\"http://blogs.kcrw.com/whichwayla/2014/04/photos-inside-the-straight-outta-compton-movie-casting-call\" target=\"_blank\" rel=\"noopener\">Photos from the “Straight Outta Compton” movie casting call (KCRW)\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>http://www.kqed.org/.stream/anon/radio/tcrmag/2014/05/2014-05-09e-tcrmag.mp3\u003c/p>\n\u003cp>It’s been more than 25 years since the groundbreaking rap group NWA released the controversial album “\u003ca href=\"http://www.imdb.com/title/tt1398426/\" target=\"_blank\" rel=\"noopener\">Straight Outta Compton\u003c/a>.”\u003c/p>\n\u003cp>Beginning with the now-famous sentence, “You are now about to witness the strength of street knowledge,” the record is widely credited as launching the gangsta rap genre.\u003c/p>\n\u003cp>This summer production is scheduled to begin on a movie about the group’s rise to fame.\u003c/p>\n\u003cp>An open casting call for the film “Straight Outta Compton” was held recently in a crowded community center gymnasium in South Los Angeles, where NWA has its roots.\u003c/p>\n\u003cfigure id=\"attachment_10341797\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/NAWDreAud.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/NAWDreAud-400x450.jpg\" alt=\"Timothy Slater prepares to audition for the role of Ice Cube. (Avishay Artsy/KQED)\" width=\"400\" height=\"450\" class=\"size-thumbnail wp-image-10341797\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2014/09/NAWDreAud-400x450.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2014/09/NAWDreAud.jpg 600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Timothy Slater prepares to audition for the role of Ice Cube. (Avishay Artsy/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Hundreds of young African-American men showed up on a hot Sunday afternoon to audition for the film. Most were born after the album’s 1988 release. Many came dressed like NWA rapper Eazy-E, with his trademark black Raiders hat, Jheri curls, sunglasses and gold chains. Eazy-E died of AIDS in 1995 at the age of 31.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Joseph Word, 18, was here for his first-ever audition. Word wants to play NWA founding member Dr. Dre in the movie.\u003c/p>\n\u003cp>“I feel like he was the leader, and because they gave us stories about the ‘hood,” Word said. “Real stories about what was going on in the world at that time.”\u003c/p>\n\u003cp>In the era of Reagan, AIDS and the crack epidemic, the NWA song “F— tha Police” put NWA — and Compton — on the map. The FBI was worried enough to send the group’s label a warning letter. The anti-police rhetoric foreshadowed the Rodney King beating and the L.A. riots four years later.\u003c/p>\n\u003cp>“It teaches it’s not always good in the world, sometimes it’s gritty, sometimes it’s stank,” said Joe Bryant, 23, who grew up in Compton. “But you gotta suck it up and you really gotta hit your hustle or whatever you do, it’s legal or not legal, you gotta do it best that your capability, because if you don’t, you just gonna be a dog that got ate.”\u003c/p>\n\u003cp>That’s the attitude that F. Gary Gray, the director of the film “Straight Outta Compton,” is looking for.\u003c/p>\n\u003cp>“It’s just a certain thing that a person from the ‘hood has, you know. It’s just that thing,” Gray said. “You know, when you watch ‘American Idol’ and there’s that ‘it factor,’ there’s a hood factor, and you get the authenticity when you’re in environments like this when you have an open call, and I’m seeing it and I’m pretty happy with it.”\u003c/p>\n\u003cp>In interviews at the time, NWA liked to call themselves “street reporters.” But plenty of Compton residents didn’t like their message.\u003c/p>\n\u003cp>“Maybe some of the content of their messages, you know, black-on-black crime, or drugs, or things of that nature, that they didn’t really find that healthy,” said Ben “Taco” Owens, an ex-member of the Crips gang who now helps former gang members start over. “But basically for some others, they felt that they came real, they came raw, and told the story of what the hood life is like.”\u003c/p>\n\u003cfigure id=\"attachment_10341798\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/NWADreAudition.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/09/NWADreAudition-400x379.jpg\" alt=\"Joshua Miller tries out for the role of NWA member Dr. Dre, across from casting associate Nahisha Pettit. (Avishay Artsy/KQED)\" width=\"400\" height=\"379\" class=\"size-thumbnail wp-image-10341798\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2014/09/NWADreAudition-400x379.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/10/2014/09/NWADreAudition.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joshua Miller tries out for the role of NWA member Dr. Dre, across from casting associate Nahisha Pettit. (Avishay Artsy/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>The homicide rate in Compton is down by half since 2000, although violent crime is still more than double the national average. A quarter of its residents lives below the poverty line. The factors that helped make NWA a possibility are still very present today.\u003c/p>\n\u003cp>“It’s not unlike ‘The Social Network’ or ‘American Graffiti,’ where you take a place and time in America, and you see the pivot that America took in entertainment,” said filmmaker Gray. “We went from Madonna, Michael Jackson and Prince to hip-hop, and this is the time that marks that shift in that era.”\u003c/p>\n\u003cp>With the release of this movie, NWA’s story is poised to reach a much wider audience. The film’s production company, Universal, plans to release “Straight Outta Compton” in 2015.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More: \u003ca href=\"http://blogs.kcrw.com/whichwayla/2014/04/photos-inside-the-straight-outta-compton-movie-casting-call\" target=\"_blank\" rel=\"noopener\">Photos from the “Straight Outta Compton” movie casting call (KCRW)\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "In SF's Mission District, Evicted Artists Hold Garage Sale to Pay for Move",
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"content": "\u003cfigure id=\"attachment_135178\" class=\"wp-caption aligncenter\" style=\"max-width: 533px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/eviction-garage-sale.jpg\">\u003cimg class=\"size-full wp-image-135178\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/eviction-garage-sale.jpg\" alt=\"The sticker on each item for sale at the garage sale held by longtime Mission District artists Yolanda Lopez and her son Rio Yañez. (Lydia Chávez/Mission Local)\" width=\"533\" height=\"400\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The sticker on each item at the garage sale held by longtime Mission District artists Yolanda Lopez and her son, Rio Yañez. (Lydia Chávez/Mission Local)\u003c/figcaption>\u003c/figure>\n\u003cp>It's no secret that San Francisco's booming real estate market has made it challenging for \u003ca href=\"http://ww2.kqed.org/news/series/priced-out/\" target=\"_blank\">anyone living on the margin\u003c/a>. \u003ca href=\"http://ww2.kqed.org/news/2014/02/24/art-galleries-displaced-amid-san-francisco-tech-boom\" target=\"_blank\">Art galleries \u003c/a>near Union Square are being forced to leave and \u003ca href=\"http://ww2.kqed.org/news/2014/03/04/san-francisco-artists-struggle-to-stay-in-city-as-housing-costs-skyrocket\" target=\"_blank\">Oakland is luring working artists across the Bay\u003c/a>, where cheaper rent is a huge draw. And then there are the local eviction tragedies, like that of two longtime \u003ca href=\"http://missionlocal.org/2013/10/royalty-of-the-mission-art-scene-faces-eviction/\" target=\"_blank\">Mission artists\u003c/a>, Yolanda Lopez and her son, Rio Yañez, who are being forced to leave their duplex on San Jose Avenue after more than 30 years. This weekend the mother-son duo put on an \u003ca href=\"http://missionlocal.org/2014/05/eviction-garage-sale-a-sense-of-place/\" target=\"_blank\">eviction garage sale to help pay for the move\u003c/a>. Mission Local has been covering the eviction saga of these highly esteemed Mission artists since the beginning, including a collaboration piece Lopez created with her lawyer, Adriana Camarena, transforming the mass of eviction paperwork into \u003ca href=\"http://missionlocal.org/2014/03/artist-yolanda-lopez-turns-eviction-into-art/\" target=\"_blank\">protest art\u003c/a>. Mission Local editor Lydia Chávez checked in with Camarena about the garage sale:\u003c/p>\n\u003cblockquote>\u003cp>The Garage Sale this weekend, wrote Camarena in an e-mail, was deliberately carried out in an art gallery as an art and political statement. “Probably the most valuable piece in the Garage Sale,” Camarena wrote, ”is the price sticker that reminds people that this is the eviction of two lifelong Mission artists: ‘Yolanda López and Río Yañez’s Eviction Garage Sale [$price]‘”\u003c/p>\u003c/blockquote>\n\u003cp>The garage sale protest was held at \u003ca href=\"http://www.galeriadelaraza.org/\" target=\"_blank\">Galeria de la Raza\u003c/a>, itself a historic San Francisco art establishment, showing works by artists like Frida Kahlo and Diego Rivera. The Galeria's former director and Yolanda Lopez' ex-husband, Rene Yanez, is also being evicted.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_135178\" class=\"wp-caption aligncenter\" style=\"max-width: 533px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/eviction-garage-sale.jpg\">\u003cimg class=\"size-full wp-image-135178\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/eviction-garage-sale.jpg\" alt=\"The sticker on each item for sale at the garage sale held by longtime Mission District artists Yolanda Lopez and her son Rio Yañez. (Lydia Chávez/Mission Local)\" width=\"533\" height=\"400\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The sticker on each item at the garage sale held by longtime Mission District artists Yolanda Lopez and her son, Rio Yañez. (Lydia Chávez/Mission Local)\u003c/figcaption>\u003c/figure>\n\u003cp>It's no secret that San Francisco's booming real estate market has made it challenging for \u003ca href=\"http://ww2.kqed.org/news/series/priced-out/\" target=\"_blank\">anyone living on the margin\u003c/a>. \u003ca href=\"http://ww2.kqed.org/news/2014/02/24/art-galleries-displaced-amid-san-francisco-tech-boom\" target=\"_blank\">Art galleries \u003c/a>near Union Square are being forced to leave and \u003ca href=\"http://ww2.kqed.org/news/2014/03/04/san-francisco-artists-struggle-to-stay-in-city-as-housing-costs-skyrocket\" target=\"_blank\">Oakland is luring working artists across the Bay\u003c/a>, where cheaper rent is a huge draw. And then there are the local eviction tragedies, like that of two longtime \u003ca href=\"http://missionlocal.org/2013/10/royalty-of-the-mission-art-scene-faces-eviction/\" target=\"_blank\">Mission artists\u003c/a>, Yolanda Lopez and her son, Rio Yañez, who are being forced to leave their duplex on San Jose Avenue after more than 30 years. This weekend the mother-son duo put on an \u003ca href=\"http://missionlocal.org/2014/05/eviction-garage-sale-a-sense-of-place/\" target=\"_blank\">eviction garage sale to help pay for the move\u003c/a>. Mission Local has been covering the eviction saga of these highly esteemed Mission artists since the beginning, including a collaboration piece Lopez created with her lawyer, Adriana Camarena, transforming the mass of eviction paperwork into \u003ca href=\"http://missionlocal.org/2014/03/artist-yolanda-lopez-turns-eviction-into-art/\" target=\"_blank\">protest art\u003c/a>. Mission Local editor Lydia Chávez checked in with Camarena about the garage sale:\u003c/p>\n\u003cblockquote>\u003cp>The Garage Sale this weekend, wrote Camarena in an e-mail, was deliberately carried out in an art gallery as an art and political statement. “Probably the most valuable piece in the Garage Sale,” Camarena wrote, ”is the price sticker that reminds people that this is the eviction of two lifelong Mission artists: ‘Yolanda López and Río Yañez’s Eviction Garage Sale [$price]‘”\u003c/p>\u003c/blockquote>\n\u003cp>The garage sale protest was held at \u003ca href=\"http://www.galeriadelaraza.org/\" target=\"_blank\">Galeria de la Raza\u003c/a>, itself a historic San Francisco art establishment, showing works by artists like Frida Kahlo and Diego Rivera. The Galeria's former director and Yolanda Lopez' ex-husband, Rene Yanez, is also being evicted.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Oakland Theater Program Puts Students in the Spotlight",
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"content": "\u003cp>The 27 actors in the OakTech Rep's spring play are hard at work rehearsing \"American Night: The Ballad of Juan Jose.\"\u003c/p>\n\u003cp>\"All right! We really tore through Manzanar last time,\" director Jessa Brie Moreno calls out to the cast. \"I'm really proud of you guys. We're doing great.\"\u003c/p>\n\u003cp>The tragicomic musical, developed by Richard Montoya of the Chicano performance troupe Culture Clash, portrays a Mexican immigrant who falls asleep as he studies for his U.S. citizenship exam. In his dreams, he meets a slew of historical figures -- from Sacagawea to Jackie Robinson -- and travels to some of the darkest corners of America's past.\u003c/p>\n\u003cp>The performance, held May 1-3 at Oakland Technical High School, includes 78 characters, several musical numbers, elaborate sets and choreographed dances.\u003c/p>\n\u003cp>\"I don’t really like how we get called high school theater,\" says senior Jacob Moore, who has performed in five plays at Oakland Tech. He has two roles this spring: Jesus and a Japanese game show host. He's also in charge of costumes. \"We do productions. That’s like one thing, ever since the first show we did, I was like, 'Just a high school play? No! This is a lot!'\" \u003c/p>\n\u003cfigure id=\"attachment_10140925\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/OakTech5.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/OakTech5-400x413.jpg\" alt='Kevin Covarrubias, who plays the lead in \"American Night: The Ballad of Juan Jose,\" practices his lines with fellow performer Jessica Nguyen. (Sara Bernard/KQED)' width=\"400\" height=\"413\" class=\"size-thumbnail wp-image-10140925\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kevin Covarrubias, who plays the lead in \"American Night: The Ballad of Juan Jose,\" practices his lines with fellow performer Jessica Nguyen. (Sara Bernard/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>\"It’s challenging material,\" agrees Jessa Brie Moreno, who came to Oakland Technical High School as a drama teacher eight years ago. \"We’re often putting the PG-13 rating on our posters. Because that’s who these students are and what they’re really dealing with.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When Moreno arrived at Oakland Tech, the school’s 900-seat auditorium was being used for storage. The building had a leaky roof and broken seats, and there was no performing arts program to speak of. Even today, Moreno says, only about a third of students at Oakland's public schools have access to any kind of arts education.\u003c/p>\n\u003cp>But Moreno is helping to change that. A few years ago, the American High School Theatre Festival named the OakTech Rep one of the top 50 drama programs in the country. Moreno and her students traveled to the Edinburgh Fringe Festival in Scotland -- the largest arts festival in the world -- to perform \"Hamlet: Blood in the Brain,\" an adaptation of the Shakespeare classic set in 1980s Oakland. And the troupe routinely earns high praise from professional actors and directors.\u003c/p>\n\u003cp>\"You don’t go in with the expectation that these young guys are going to do what they do,\" says Michael Torres, chair of the theater department at Oakland's Laney College. He's been a professional stage actor for the past 26 years and works with some of Moreno's former students. \"I like watching the shows because I can hold onto the through line. It’s like watching a show in many other different places that are professional. It’s special, what’s happening there,\" at Oakland Tech, he says. \"It’s not normal.\"\u003c/p>\n\u003cfigure id=\"attachment_10140927\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/OakTech7.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/OakTech7-400x193.jpg\" alt='The play features several choreographed dances. Here, students rehearse a medley that blends \"Ice Ice Baby\" with \"Electric Slide.\" (Sara Bernard/KQED)' width=\"400\" height=\"193\" class=\"size-thumbnail wp-image-10140927\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The play features several choreographed dances. Here, students rehearse a medley that blends \"Ice Ice Baby\" with \"Electric Slide.\" (Sara Bernard/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Moreno often brings in local professionals to help coach the students --actors, directors, choreographers. The group frequently writes its own work, too, such as \"99 Years,\" a play about the history of Oakland Tech, based on interviews with alumni. Moreno thinks of this as a pre-professional program, and makes sure that each performance presents new challenges and takes new risks.\u003c/p>\n\u003cp>\"I keep saying, this is the one that's going to get me fired,\" she says, laughing. \"No, this is the one! But it hasn't happened yet.\"\u003c/p>\n\u003cp>That’s probably because the program has been so successful -- and not only at Oakland Tech. A few years ago, when Moreno was one of the only drama teachers left in the district, she wrote a grant to train 10 English and history teachers in theater techniques and what she calls \"creative inquiry.\" Known as the Oakland Theatre Arts Initiative, the grant helped integrate theater arts into a handful of classrooms and build the drama program at Edna Brewer Middle School.\u003c/p>\n\u003cp>\"They say that creative thought and critical thinking skills are the most lacking right now in education,\" Moreno says. \"And I think theater is a place where that all comes together and you can make use of it.\"\u003c/p>\n\u003cp>Now Moreno spends each morning at the Oakland Unified School District office developing curricula that will bring theater techniques into every classroom in the district. For some students, like Jacob Moore, that kind of opportunity is everything.\u003c/p>\n\u003cfigure id=\"attachment_10140928\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/OakTech9.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/OakTech9-400x296.jpg\" alt='The cast practices their rendition of the Neil Diamond classic, \"Coming to America.\" (Sara Bernard/KQED)' width=\"400\" height=\"296\" class=\"size-thumbnail wp-image-10140928\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The cast practices their rendition of the Neil Diamond classic, \"Coming to America.\" (Sara Bernard/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>\"Before I lived here, when I didn’t have theater, my GPA was below a 1,\" says Moore. \"Then I got into reading and working and learning. That’s what you have to do to be in theater; you have to learn a lot about everything in the play. So I just kinda got into doing work. And now I’m like a 3.5 GPA, which is really weird for me, because that’s never happened before!\"\u003c/p>\n\u003cp>Senior Ana Ortiz has been acting for the past two years, and she says theater has been pretty transformative for her, too.\u003c/p>\n\u003cp>\"When I talk in front of a group of people, I get kind of shy, and when I start talking, I get red. I hate that. But when I'm on stage, that doesn't happen. I get nervous, but it's like, I let my character go. It's not me, it's my character.\" \u003c/p>\n\u003cp>The benefits of theater also extend beyond the stage -- and the school day.\u003c/p>\n\u003cp>\"We do breathing exercises for warm-up,\" Moreno says. \"And I had one student one year come and say, 'A guy pulled a gun on me in the bus and I used my breathing techniques and I swear it saved my life.' \"\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Literally, as well as figuratively, then, \"I get to witness the saving of student lives in my daily work, which is such a gift,\" she says. \"There’s nothing more than that, really.\"\u003c/p>\n\n",
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"excerpt": "High-quality student theater has been making a comeback in an unlikely place: Oakland's public schools.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 27 actors in the OakTech Rep's spring play are hard at work rehearsing \"American Night: The Ballad of Juan Jose.\"\u003c/p>\n\u003cp>\"All right! We really tore through Manzanar last time,\" director Jessa Brie Moreno calls out to the cast. \"I'm really proud of you guys. We're doing great.\"\u003c/p>\n\u003cp>The tragicomic musical, developed by Richard Montoya of the Chicano performance troupe Culture Clash, portrays a Mexican immigrant who falls asleep as he studies for his U.S. citizenship exam. In his dreams, he meets a slew of historical figures -- from Sacagawea to Jackie Robinson -- and travels to some of the darkest corners of America's past.\u003c/p>\n\u003cp>The performance, held May 1-3 at Oakland Technical High School, includes 78 characters, several musical numbers, elaborate sets and choreographed dances.\u003c/p>\n\u003cp>\"I don’t really like how we get called high school theater,\" says senior Jacob Moore, who has performed in five plays at Oakland Tech. He has two roles this spring: Jesus and a Japanese game show host. He's also in charge of costumes. \"We do productions. That’s like one thing, ever since the first show we did, I was like, 'Just a high school play? No! This is a lot!'\" \u003c/p>\n\u003cfigure id=\"attachment_10140925\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/OakTech5.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/OakTech5-400x413.jpg\" alt='Kevin Covarrubias, who plays the lead in \"American Night: The Ballad of Juan Jose,\" practices his lines with fellow performer Jessica Nguyen. (Sara Bernard/KQED)' width=\"400\" height=\"413\" class=\"size-thumbnail wp-image-10140925\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kevin Covarrubias, who plays the lead in \"American Night: The Ballad of Juan Jose,\" practices his lines with fellow performer Jessica Nguyen. (Sara Bernard/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>\"It’s challenging material,\" agrees Jessa Brie Moreno, who came to Oakland Technical High School as a drama teacher eight years ago. \"We’re often putting the PG-13 rating on our posters. Because that’s who these students are and what they’re really dealing with.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When Moreno arrived at Oakland Tech, the school’s 900-seat auditorium was being used for storage. The building had a leaky roof and broken seats, and there was no performing arts program to speak of. Even today, Moreno says, only about a third of students at Oakland's public schools have access to any kind of arts education.\u003c/p>\n\u003cp>But Moreno is helping to change that. A few years ago, the American High School Theatre Festival named the OakTech Rep one of the top 50 drama programs in the country. Moreno and her students traveled to the Edinburgh Fringe Festival in Scotland -- the largest arts festival in the world -- to perform \"Hamlet: Blood in the Brain,\" an adaptation of the Shakespeare classic set in 1980s Oakland. And the troupe routinely earns high praise from professional actors and directors.\u003c/p>\n\u003cp>\"You don’t go in with the expectation that these young guys are going to do what they do,\" says Michael Torres, chair of the theater department at Oakland's Laney College. He's been a professional stage actor for the past 26 years and works with some of Moreno's former students. \"I like watching the shows because I can hold onto the through line. It’s like watching a show in many other different places that are professional. It’s special, what’s happening there,\" at Oakland Tech, he says. \"It’s not normal.\"\u003c/p>\n\u003cfigure id=\"attachment_10140927\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/OakTech7.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/OakTech7-400x193.jpg\" alt='The play features several choreographed dances. Here, students rehearse a medley that blends \"Ice Ice Baby\" with \"Electric Slide.\" (Sara Bernard/KQED)' width=\"400\" height=\"193\" class=\"size-thumbnail wp-image-10140927\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The play features several choreographed dances. Here, students rehearse a medley that blends \"Ice Ice Baby\" with \"Electric Slide.\" (Sara Bernard/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Moreno often brings in local professionals to help coach the students --actors, directors, choreographers. The group frequently writes its own work, too, such as \"99 Years,\" a play about the history of Oakland Tech, based on interviews with alumni. Moreno thinks of this as a pre-professional program, and makes sure that each performance presents new challenges and takes new risks.\u003c/p>\n\u003cp>\"I keep saying, this is the one that's going to get me fired,\" she says, laughing. \"No, this is the one! But it hasn't happened yet.\"\u003c/p>\n\u003cp>That’s probably because the program has been so successful -- and not only at Oakland Tech. A few years ago, when Moreno was one of the only drama teachers left in the district, she wrote a grant to train 10 English and history teachers in theater techniques and what she calls \"creative inquiry.\" Known as the Oakland Theatre Arts Initiative, the grant helped integrate theater arts into a handful of classrooms and build the drama program at Edna Brewer Middle School.\u003c/p>\n\u003cp>\"They say that creative thought and critical thinking skills are the most lacking right now in education,\" Moreno says. \"And I think theater is a place where that all comes together and you can make use of it.\"\u003c/p>\n\u003cp>Now Moreno spends each morning at the Oakland Unified School District office developing curricula that will bring theater techniques into every classroom in the district. For some students, like Jacob Moore, that kind of opportunity is everything.\u003c/p>\n\u003cfigure id=\"attachment_10140928\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/OakTech9.jpg\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/05/OakTech9-400x296.jpg\" alt='The cast practices their rendition of the Neil Diamond classic, \"Coming to America.\" (Sara Bernard/KQED)' width=\"400\" height=\"296\" class=\"size-thumbnail wp-image-10140928\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The cast practices their rendition of the Neil Diamond classic, \"Coming to America.\" (Sara Bernard/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>\"Before I lived here, when I didn’t have theater, my GPA was below a 1,\" says Moore. \"Then I got into reading and working and learning. That’s what you have to do to be in theater; you have to learn a lot about everything in the play. So I just kinda got into doing work. And now I’m like a 3.5 GPA, which is really weird for me, because that’s never happened before!\"\u003c/p>\n\u003cp>Senior Ana Ortiz has been acting for the past two years, and she says theater has been pretty transformative for her, too.\u003c/p>\n\u003cp>\"When I talk in front of a group of people, I get kind of shy, and when I start talking, I get red. I hate that. But when I'm on stage, that doesn't happen. I get nervous, but it's like, I let my character go. It's not me, it's my character.\" \u003c/p>\n\u003cp>The benefits of theater also extend beyond the stage -- and the school day.\u003c/p>\n\u003cp>\"We do breathing exercises for warm-up,\" Moreno says. \"And I had one student one year come and say, 'A guy pulled a gun on me in the bus and I used my breathing techniques and I swear it saved my life.' \"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Literally, as well as figuratively, then, \"I get to witness the saving of student lives in my daily work, which is such a gift,\" she says. \"There’s nothing more than that, really.\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "News Pix: Warrior Stadium Deal, Delivering Mail by Boat and Sand Art",
"title": "News Pix: Warrior Stadium Deal, Delivering Mail by Boat and Sand Art",
"headTitle": "News Fix | KQED News",
"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/04/tussades.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-133904\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/04/tussades-640x449.jpg\" alt=\"tussades\" width=\"640\" height=\"449\">\u003c/a>\u003cbr>\nKQED's Stephanie Martin finally got that elusive interview with Mark Zuckerburg, or at least with his very lifelike wax version. Wax sculptures of local celebrities will make up 35 percent of the sculptures in the \u003ca href=\"http://ww2.kqed.org/news/2014/04/24/lifelike-mark-zuckerberg-joins-dozens-of-wax-figures-at-new-madame-tussauds-in-san-francisco/\" target=\"_blank\">brand-new Madame Tussauds wax museum\u003c/a> on Fisherman’s Wharf when it opens June 26 — at the same site as the now-defunct Wax Museum at Fisherman's Wharf, which closed last August after 50 years. (Stephanie Martin/KQED)\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/04/delta-mailman2.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-133905\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/04/delta-mailman2-640x450.jpg\" alt=\"delta mailman2\" width=\"640\" height=\"450\">\u003c/a>\u003cbr>\nRick Stelzriede is a lifeline in the eastern part of the Sacramento-San Joaquin River Delta. He's the only mailman in California who delivers by boat. There are more than 1,000 miles of waterways in the Delta and nearly 60 islands. Even though these days a lot of these islands are connected by bridges, a lot of the people in the Delta are pretty isolated. (Tony George/KQED)\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/04/watch.jpg\">\u003cimg class=\"aligncenter size-full wp-image-133906\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/04/watch.jpg\" alt=\"watch\" width=\"640\" height=\"450\">\u003c/a>\u003cbr>\nOn Monday, Eli Baum went into the Berkeley Tuolumne Camp office to complete the paperwork to be a counselor. That was when Craig Veramay, camp director, told him \u003ca href=\"http://www.berkeleyside.com/2014/04/24/saved-from-the-tuolumne-family-camp-fire-a-stopped-watch/\" target=\"_blank\">something of his had been found in the debris\u003c/a>. It was Baum’s watch, visibly burned. Its hands had stopped when the Rim Fire hit last August. \"They knew it was mine because I had listed it along with other items I’d lost in the fire,\" he said. \"You can still see the logo of the watch company.\" (Michael Baum/\u003ca href=\"http://www.berkeleyside.com/\" target=\"_blank\">Berkeleyside\u003c/a>)\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/04/warrior-stadium.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-133907\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/04/warrior-stadium-640x449.jpg\" alt=\"Golden State Warriors Announce Plan To Move To San Francisco\" width=\"640\" height=\"449\">\u003c/a>\u003cbr>\nThe new Golden State Warriors stadium \u003ca href=\"http://ww2.kqed.org/news/2014/04/21/new-warriors-stadium-mission-bay/\" target=\"_blank\">will be built further inland than originally planned\u003c/a>, on land purchased from Salesforce at Third and 16th streets. The previous plan would have had to overcome a local ballot measure, Proposition B, that would limit the height of San Francisco waterfront developments. \"It's been a very intense six weeks, and we actually finally signed the purchase agreement just this last Saturday,\" Warriors President Rick Welts said. (Thearon W. Henderson/Getty Images)\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/09/Albanybulb_11sept2013-640.jpg\">\u003cimg class=\"size-full wp-image-111666\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2013/09/Albanybulb_11sept2013-640.jpg\" alt=\"\" width=\"640\" height=\"427\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some people living in campsites on the Albany Bulb will get $3,000 each to leave as \u003ca href=\"http://ww2.kqed.org/news/2014/04/23/albany-settles-with-plaintiffs-suing/\" target=\"_blank\">part of a settlement between the East Bay City of Albany and 28 residents\u003c/a> of the persistent encampment. People who signed the settlement must leave the Bulb by Friday, April 25, and they have agreed to stay away from public open spaces in Albany, including the Bulb and Albany Hill, for a year. The agreement settles a federal lawsuit filed on behalf of the homeless living at the Bulb and was in large part an attempt to force Albany to provide homeless transition services for all of the people at the Bulb as the city inched closer in its decades-long effort to convert the land into a state park. (Sara Bloomberg/KQED)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/04/clouds-1440.jpg\">\u003cimg class=\"aligncenter size-medium wp-image-133910\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/04/clouds-1440-640x199.jpg\" alt=\"clouds-1440\" width=\"640\" height=\"199\">\u003c/a>\u003cbr>\nWalking along Bay Area beaches, you may be lucky enough to come across one of Andres Amador's\u003ca href=\"http://ww2.kqed.org/arts/2014/04/17/andres-amadors-earthscapes-art-that-goes-out-with-the-tide/\" target=\"_blank\">Amador’s “playa paintings,”\u003c/a> large-scale patterns he creates in the sand using rakes and ropes as his tools. His pieces originally embodied precise geometric forms, but over time they’ve become more free-flowing and abstract, seeming to emerge from and interact with the landscape. Amador painted one such sandscape on Saturday, April 19. (Photo courtesy of: Andres Amador)\u003c/p>\n\n",
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"content": "\u003cfigure id=\"attachment_133887\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg class=\"wp-image-133887 size-thumbnail\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/04/Winnie-Wong-from-One-Day-in-San-FranciscoKQED-Christine-300x300.jpg\" alt=\"Organizer Winnie Wong. (Christine Hsu/KQED)\" width=\"300\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">Organizer Winnie Wong. (Christine Hsu/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>More than 200 filmmakers will take to the streets of San Francisco this Saturday looking to tell the untold stories of the city.\u003c/p>\n\u003cp>\u003ca href=\"http://onedayinsf.org/\" target=\"_blank\">One Day in San Francisco \u003c/a>is a collaborative event for filmmakers of all levels to create a unified work that captures the essence of San Francisco. Participants can submit videos that attack any of 10 questions like, \"What do you hope for your city in the next 20 years?\" and \"What do you love about your city?\"\u003c/p>\n\u003cp>\"We all care about the city. So I feel like this is an opportunity to not only have a voice and be heard, but to get to know the people who are in your environment,\" event organizer Winnie Wong said.\u003c/p>\n\u003cp>Nonprofits like \u003ca href=\"http://www.projecthomelessconnect.com/\" target=\"_blank\">Project Homeless Connect\u003c/a>, \u003ca href=\"http://thehivstoryproject.org/hsp/\" target=\"_blank\">HIV Story Project\u003c/a> and \u003ca href=\"http://826valencia.org/\" target=\"_blank\">826 Valencia\u003c/a> will contribute videos to the project. Each video will be uploaded to the One Day in San Francisco website with location tag.\u003c/p>\n\u003cp>Ten other cities across the nation are also hosting \"one day\" filmmaking events: Atlanta, Boston, Detroit, Denver, Los Angeles, Lower Rio Grande Valley, New Orleans, New York City, San Diego and Twin Cities.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you're interested in joining in, you can sign up \u003ca href=\"http://onedayinsf.org/signup/\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cfigure id=\"attachment_133752\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/04/2014-04-23-02.22.24.jpg\">\u003cimg class=\"size-medium wp-image-133752\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2014/04/2014-04-23-02.22.24-640x480.jpg\" alt=\"Stephanie Martin finally gets her interview. \" width=\"640\" height=\"480\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stephanie Martin finally gets her interview. (Courtesy of Stephanie Martin/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Finally, after years of interview requests, here I am face-to-face with the CEO of Facebook. He is casually sitting on a chair, cross-legged and barefoot, holding a laptop and wearing his trademark hooded sweatshirt.\u003c/p>\n\u003cp>It is a quieter meeting than I would have wanted, as Mark Zuckerberg just smiles and stares into space, flanked on one side by a stoic Leonardo DiCaprio in a suit and a dancing Rihanna on the other. Standing next to the new lifelike wax sculpture of Zuckerberg might be the closest I get to an interview. I am enthralled.\u003c/p>\n\u003cp>Twenty artists worked for months to construct the sculpture. It’s the small details, like the hand-painted freckles, that make Zuckerberg look real, says wax artist Petra Van der Meer.\u003c/p>\n\u003cp>\"You can see the eyes. They're made of acrylic,” Van der Meer adds. “They're also hand-painted. And, also, you can see the tiny little veins in the corners of his eyes. Those are silk threads,” she says.\u003c/p>\n\u003cp>The artists inserted his hair, which is real, one strand at a time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wax sculptures of local celebrities will make up 35 percent of the sculptures in the brand-new \u003ca href=\"http://www.madametussauds.com/sanfrancisco/\" target=\"_blank\">Madame Tussauds\u003c/a> wax museum on Fisherman's Wharf when it opens June 26 — at the same site as the now-defunct Wax Museum at Fisherman's Wharf, which closed last August after 50 years.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Zuckerberg didn't sit for the sculpture and there is no word from Facebook on how its leader feels about his new doppelganger. But on Wednesday, Facebook (run by the living Zuckerberg) announced the introduction of a news wire service for journalists and newsrooms, \u003ca href=\"http://newsroom.fb.com/news/2014/04/announcing-fb-newswire-powered-by-storyful/\" target=\"_blank\">FB Newswire\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wax sculptures of local celebrities will make up 35 percent of the sculptures in the brand-new \u003ca href=\"http://www.madametussauds.com/sanfrancisco/\" target=\"_blank\">Madame Tussauds\u003c/a> wax museum on Fisherman's Wharf when it opens June 26 — at the same site as the now-defunct Wax Museum at Fisherman's Wharf, which closed last August after 50 years.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Zuckerberg didn't sit for the sculpture and there is no word from Facebook on how its leader feels about his new doppelganger. But on Wednesday, Facebook (run by the living Zuckerberg) announced the introduction of a news wire service for journalists and newsrooms, \u003ca href=\"http://newsroom.fb.com/news/2014/04/announcing-fb-newswire-powered-by-storyful/\" target=\"_blank\">FB Newswire\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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