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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/sundaymusicdrop\">The Sunday Music Drop\u003c/a> is a weekly radio series hosted by the KQED weekend news team. In each segment, we feature a song from a local musician or band with an upcoming show and hear about what inspires their music.\u003c/em>\u003c/p>\n\u003cp>This week’s episode of Sunday Music Drop is about a band that came about following a discussion on … the universe.\u003c/p>\n\u003cp>“On a fateful day, we played a show together, and then a few months later, [fellow band member Rob Nicol] was at Hardly Strictly Bluegrass on a blanket, and we sat down for like a good couple hours together and talked about the nature of reality in the universe,” says Austin Wasielewski, vocalist, guitarist, keyboard and synth player for Analog Dog. “Then we found our other mates and the five years have gone by, like, in the blink of an eye.”\u003c/p>\n\u003cp>In that blink of the eye, Analog Dog has become a project that Wasielewski says embraces “magical thinking” in a way that enables them to “break beyond those boundaries and see the depth of our connection to each other and the depth of our connection to the earth.”\u003c/p>\n\u003cp>“So I think that we strive to awaken that magic within people so that we can kind of exist in a more community space and in a more magical space,” Wasielewski says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Analog Dog is a San Francisco band inspired by the Bay Area, which Nicol considers a “hotbed of ideas and cultural growth” — and yet, none of the band members are from the Bay Area.\u003c/p>\n\u003cp>“We hail almost like, distinctly from every corner of the country except for California and the West Coast,” Nicol says. “And so we all ended up here, and I think what brought us all out here is ideas.\u003c/p>\n\u003cp>“If you look at like the Grateful Dead and you look at California in general and all the artists that have come out from the West, I think that there’s just a there’s a pull and their gravity that brought us all here that I don’t think is in any way coincidence.”\u003c/p>\n\u003cp>So, what does Analog Dog sound like?\u003c/p>\n\u003cp>“… Its music is essentially genre fluid … encompassed in rock and roll roots, indie vibes, disco-dance passion, some improvisation and jam philosophy, with a little bit of jazz sprinkled on top.”\u003c/p>\n\u003cp>Their song “Disco Dani, Part One” is not just any song for them, it’s the one they close almost every show with, because “by then, everybody’s warmed up and it just hits in such a simple, fun way.”\u003c/p>\n\u003cp>“People lose it because we lose it because we know no matter where we’re at in the set, no matter how the set went, we just have this closer that everybody’s going to lose their pants … you wouldn’t believe the pants!”\u003c/p>\n\u003cp>There’s a song called Patience by Tame Impala. And I was super into it, and I was like, let’s write one like this and our keyboardist Jason. He kind of had a lick based on that, and we worked through that.\u003c/p>\n\u003cp>We also felt that if it was just part one — that’s been done a million times — It’s a great song, but it’s still just like a pop song. And so [we made] part two [which] has these… just like we got into three different keys and there’s time changes and it just goes crazy!\u003c/p>\n\u003cp>Rob Nicol describes the “flux” that underlies the song.\u003c/p>\n\u003cp>“[On the one hand, it’s a] kind of pop and really palatable, easy-to-digest music. And then this other hand in a more complex, challenging musical landscape that we’re both inspired by. And so it’s finding that right balance that people can connect with, but also that will keep things, keep people, keep people coming back to find something new.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.analogdogband.com/\">Analog Dog\u003c/a> also includes Celia Ford on bass and vocals; Jason Blasingame on keyboard, synth and saxophone; and Kale Frank on drums. They will perform live at \u003ca href=\"https://www.jamcellarsballroom.com/tm-attraction/analog-dog/\">JaM Cellars Ballroom in Napa on Oct. 18\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "SF to Buy New Home for GLBT Museum, Preserving Century of LGBTQ History",
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"content": "\u003cp>After decades of shuffling between temporary locations, the nation’s first museum dedicated to \u003ca href=\"https://www.kqed.org/news/tag/lgbt\">LGBT\u003c/a> culture and history will have a new home, Mayor London Breed announced Thursday.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/news/tag/san-francisco\">San Francisco\u003c/a> plans to purchase a spacious 14,640-square-foot lot at 2280 Market St. to serve as the new GLBT Historical Society Museum and Archives site.\u003c/p>\n\u003cp>“It’s been a labor of love for so many people working together for decades,” said Roberto Ordeñana, the executive director of the GLBT Historical Society, the nonprofit that stewards the museum.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Almost 20 years ago, the GLBT Historical Society created a storefront museum on 18th Street in the Castro, where the museum is currently housed.\u003c/p>\n\u003cp>The museum’s collection, which draws from a vast archive spanning a century of local LGBTQ history and activism, includes priceless cultural artifacts, including \u003ca href=\"https://www.kqed.org/news/11876846/never-take-it-down-the-original-1978-rainbow-flag-returns-to-sf\">remnants of the original rainbow pride flag\u003c/a>, first flown in 1978. The museum also cares for the bloodstained suit worn by Supervisor Harvey Milk, who represented the Castro, when he was assassinated in 1978.\u003c/p>\n\u003cp>Supervisor Rafael Mandelman said he’s welcomed foreign dignitaries to the 1,600-square-foot site, including the Queen of the Netherlands.\u003c/p>\n\u003cfigure id=\"attachment_12006547\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12006547\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum.jpg\" alt=\"\" width=\"2000\" height=\"1499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum-1920x1439.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A visitor to the GLBT Historical Society Museum listens intently to the recorded will of Harvey Milk, the first openly gay member of the San Francisco Board of Supervisors, who was assassinated in 1978. \u003ccite>(Gerard Koskovich/GLBT Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It is the place where people come to learn about the queer history of the Castro and in San Francisco,” Mandelman said. “It’s been great, but it is small, and it has never been understood to be the permanent home for the [GLBT] historical society.\u003c/p>\n\u003cp>Mandelman credits Breed, whose office committed $12.5 million for the acquisition in 2021, and state Sen. Scott Wiener (D-San Francisco), who helped secure an additional $5.5 million in state funding, for making the new site a reality.\u003c/p>\n\u003cp>Wiener said the effort to establish the museum will help educate future generations about the community’s history.\u003c/p>\n\u003cfigure id=\"attachment_12006736\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12006736\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum4.jpg\" alt=\"\" width=\"2000\" height=\"1499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum4.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum4-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum4-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum4-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum4-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum4-1920x1439.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The archives include over a thousand collections spanning a century’s worth of LGBTQ history in San Francisco and Northern California. \u003ccite>(Courtesy GLBT Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We need to understand where we came from,” Wiener said. “There are people who came before us, people who fought, who struggled, who died, and who built the movement and built the community.”\u003c/p>\n\u003cp>On Tuesday, Breed and Mandelman will introduce legislation before the Board of Supervisors to officially purchase the Upper Market space.\u003c/p>\n\u003cp>[aside postID=news_11989910 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2024/06/0M6A0928_qut-1020x648.jpg']\u003c/p>\n\u003cp>Once the supervisors approve the agreement, the city will enter into a lease agreement with the GLBT Historical Society and the Community Arts Stabilization Trust, which works to secure affordable spaces for nonprofit arts and culture organizations.\u003c/p>\n\u003cp>Ordeñana said the museum will uplift LGBTQ history while also shining a light on the equality struggles that still remain. He said this means reckoning with the community’s shortcomings, including the historical exclusion of people of color, transgender people and women.\u003c/p>\n\u003cp>“Having an organization that prioritizes a strong racial and gender equity framework and the ability to lift up those stories from the communities that are most impacted by intersecting oppression has been incredibly important for us,” Ordeñana said.\u003c/p>\n\u003cfigure id=\"attachment_12006737\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12006737\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum5.jpg\" alt=\"\" width=\"2000\" height=\"1084\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum5.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum5-800x434.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum5-1020x553.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum5-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum5-1536x833.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum5-1920x1041.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The exhibit uses archival materials and artifacts to share historical events of the LGBTQ community in San Francisco. \u003ccite>(Gerard Koskovich/GLBT Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This means exploring a name change for the new museum, Ordeñana said, so that the diverse communities of San Francisco may see themselves more accurately reflected.\u003c/p>\n\u003cp>Ordeñana knows firsthand that life in San Francisco “isn’t always easy” for gay and trans people. A San Francisco native, he was born to parents who immigrated from Central America. It wasn’t until he got involved with arts, culture and HIV/AIDS prevention work that he found his sense of community.\u003c/p>\n\u003cfigure id=\"attachment_12006735\" class=\"wp-caption aligncenter\" style=\"max-width: 1889px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12006735\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum3.jpg\" alt=\"\" width=\"1889\" height=\"1416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum3.jpg 1889w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum3-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum3-1536x1151.jpg 1536w\" sizes=\"(max-width: 1889px) 100vw, 1889px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco will be the first in the nation to have a permanent space for it’s groundbreaking LGBTQ history museum and archives. \u003ccite>(Gerard Koskovich/GLBT Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Friday, city and state officials, the GLBT Historical Society and community members celebrated at the proposed museum site with a commemoration ceremony and a performance by the San Francisco Gay Men’s Chorus.\u003c/p>\n\u003cp>“This is an incredibly proud moment for me as someone who was born and raised here to be able to support the stewardship of this incredible collection,” Ordeñana said. “It’s vital for San Francisco to continue being that beacon of hope for the entire world to really understand both the struggles and the resilience of our community.”\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After decades of shuffling between temporary locations, the nation’s first museum dedicated to \u003ca href=\"https://www.kqed.org/news/tag/lgbt\">LGBT\u003c/a> culture and history will have a new home, Mayor London Breed announced Thursday.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/news/tag/san-francisco\">San Francisco\u003c/a> plans to purchase a spacious 14,640-square-foot lot at 2280 Market St. to serve as the new GLBT Historical Society Museum and Archives site.\u003c/p>\n\u003cp>“It’s been a labor of love for so many people working together for decades,” said Roberto Ordeñana, the executive director of the GLBT Historical Society, the nonprofit that stewards the museum.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Almost 20 years ago, the GLBT Historical Society created a storefront museum on 18th Street in the Castro, where the museum is currently housed.\u003c/p>\n\u003cp>The museum’s collection, which draws from a vast archive spanning a century of local LGBTQ history and activism, includes priceless cultural artifacts, including \u003ca href=\"https://www.kqed.org/news/11876846/never-take-it-down-the-original-1978-rainbow-flag-returns-to-sf\">remnants of the original rainbow pride flag\u003c/a>, first flown in 1978. The museum also cares for the bloodstained suit worn by Supervisor Harvey Milk, who represented the Castro, when he was assassinated in 1978.\u003c/p>\n\u003cp>Supervisor Rafael Mandelman said he’s welcomed foreign dignitaries to the 1,600-square-foot site, including the Queen of the Netherlands.\u003c/p>\n\u003cfigure id=\"attachment_12006547\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12006547\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum.jpg\" alt=\"\" width=\"2000\" height=\"1499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum-1920x1439.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A visitor to the GLBT Historical Society Museum listens intently to the recorded will of Harvey Milk, the first openly gay member of the San Francisco Board of Supervisors, who was assassinated in 1978. \u003ccite>(Gerard Koskovich/GLBT Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It is the place where people come to learn about the queer history of the Castro and in San Francisco,” Mandelman said. “It’s been great, but it is small, and it has never been understood to be the permanent home for the [GLBT] historical society.\u003c/p>\n\u003cp>Mandelman credits Breed, whose office committed $12.5 million for the acquisition in 2021, and state Sen. Scott Wiener (D-San Francisco), who helped secure an additional $5.5 million in state funding, for making the new site a reality.\u003c/p>\n\u003cp>Wiener said the effort to establish the museum will help educate future generations about the community’s history.\u003c/p>\n\u003cfigure id=\"attachment_12006736\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12006736\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum4.jpg\" alt=\"\" width=\"2000\" height=\"1499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum4.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum4-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum4-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum4-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum4-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum4-1920x1439.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The archives include over a thousand collections spanning a century’s worth of LGBTQ history in San Francisco and Northern California. \u003ccite>(Courtesy GLBT Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We need to understand where we came from,” Wiener said. “There are people who came before us, people who fought, who struggled, who died, and who built the movement and built the community.”\u003c/p>\n\u003cp>On Tuesday, Breed and Mandelman will introduce legislation before the Board of Supervisors to officially purchase the Upper Market space.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Once the supervisors approve the agreement, the city will enter into a lease agreement with the GLBT Historical Society and the Community Arts Stabilization Trust, which works to secure affordable spaces for nonprofit arts and culture organizations.\u003c/p>\n\u003cp>Ordeñana said the museum will uplift LGBTQ history while also shining a light on the equality struggles that still remain. He said this means reckoning with the community’s shortcomings, including the historical exclusion of people of color, transgender people and women.\u003c/p>\n\u003cp>“Having an organization that prioritizes a strong racial and gender equity framework and the ability to lift up those stories from the communities that are most impacted by intersecting oppression has been incredibly important for us,” Ordeñana said.\u003c/p>\n\u003cfigure id=\"attachment_12006737\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12006737\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum5.jpg\" alt=\"\" width=\"2000\" height=\"1084\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum5.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum5-800x434.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum5-1020x553.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum5-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum5-1536x833.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum5-1920x1041.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The exhibit uses archival materials and artifacts to share historical events of the LGBTQ community in San Francisco. \u003ccite>(Gerard Koskovich/GLBT Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This means exploring a name change for the new museum, Ordeñana said, so that the diverse communities of San Francisco may see themselves more accurately reflected.\u003c/p>\n\u003cp>Ordeñana knows firsthand that life in San Francisco “isn’t always easy” for gay and trans people. A San Francisco native, he was born to parents who immigrated from Central America. It wasn’t until he got involved with arts, culture and HIV/AIDS prevention work that he found his sense of community.\u003c/p>\n\u003cfigure id=\"attachment_12006735\" class=\"wp-caption aligncenter\" style=\"max-width: 1889px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12006735\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum3.jpg\" alt=\"\" width=\"1889\" height=\"1416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum3.jpg 1889w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum3-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/GLBTMuseum3-1536x1151.jpg 1536w\" sizes=\"(max-width: 1889px) 100vw, 1889px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco will be the first in the nation to have a permanent space for it’s groundbreaking LGBTQ history museum and archives. \u003ccite>(Gerard Koskovich/GLBT Historical Society)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Friday, city and state officials, the GLBT Historical Society and community members celebrated at the proposed museum site with a commemoration ceremony and a performance by the San Francisco Gay Men’s Chorus.\u003c/p>\n\u003cp>“This is an incredibly proud moment for me as someone who was born and raised here to be able to support the stewardship of this incredible collection,” Ordeñana said. “It’s vital for San Francisco to continue being that beacon of hope for the entire world to really understand both the struggles and the resilience of our community.”\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>This is an updated version of a story originally published in January, 2022. As Kamala Harris takes center stage as a presidential candidate and tries to tell the nation her story, we wanted to revisit The Rainbow Sign and its influence on her as a child growing up in Berkeley. \u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\">Listen to this and more in-depth storytelling by subscribing to The California Report Magazine podcast\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[dropcap]T[/dropcap]oday, it’s an unassuming beige building on a busy Berkeley street. But in the 1970s, it housed a groundbreaking center for Black culture, politics and art — a place that profoundly shaped Vice President Kamala Harris’ young life.\u003c/p>\n\u003cp>The Rainbow Sign hosted dozens of high-profile Black luminaries, including James Baldwin, Nina Simone, Maya Angelou and Shirley Chisholm, the first Black woman elected to Congress who, in another first, went on to run for president in 1972.\u003c/p>\n\u003cfigure id=\"attachment_11901153\" class=\"wp-caption aligncenter\" style=\"max-width: 1340px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/01/image5.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11901153\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/01/image5.png\" alt=\"Author James Baldwin greet a young child and mother at the door.\" width=\"1340\" height=\"1308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/image5.png 1340w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/image5-800x781.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/image5-1020x996.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/image5-160x156.png 160w\" sizes=\"(max-width: 1340px) 100vw, 1340px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Author James Baldwin greets visitors to The Rainbow Sign in Berkeley in the 1970s. \u003ccite>(Courtesy Odette Pollar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11901155\" class=\"wp-caption aligncenter\" style=\"max-width: 1370px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/01/image14.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11901155\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/01/image14.png\" alt=\"Author James Baldwin smokes a cigarette with a woman.\" width=\"1370\" height=\"1376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/image14.png 1370w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/image14-800x804.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/image14-1020x1024.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/image14-160x161.png 160w\" sizes=\"(max-width: 1370px) 100vw, 1370px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Baldwin and The Rainbow Sign founder Mary Ann Pollar take a smoke break. \u003ccite>(Courtesy Odette Pollar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Located at the corner of Grove (now Martin Luther King Jr. Way) and Derby streets in Berkeley, The Rainbow Sign was a Black-centered space that was open to all — as a performance venue, a political organizing nexus and a legendary cafe. Its founder, \u003ca href=\"https://www.kqed.org/arts/13926548/mary-ann-pollar-presents-rainbow-sign-berkeley-nina-simone-bob-dylan\">Mary Ann Pollar\u003c/a>, saw it as part of a movement for the liberation of all people through art, education and community building.\u003c/p>\n\u003cfigure id=\"attachment_11901145\" class=\"wp-caption aligncenter\" style=\"max-width: 1086px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/01/Copy-of-thumb_513741919.937318_1024.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11901145\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/01/Copy-of-thumb_513741919.937318_1024.jpg\" alt=\"A flyer that says 'The Rainbow Sign' with a picture of a man.\" width=\"1086\" height=\"724\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/Copy-of-thumb_513741919.937318_1024.jpg 1086w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/Copy-of-thumb_513741919.937318_1024-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/Copy-of-thumb_513741919.937318_1024-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/Copy-of-thumb_513741919.937318_1024-160x107.jpg 160w\" sizes=\"(max-width: 1086px) 100vw, 1086px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">An invitation for the opening night of The Rainbow Sign in 1971. \u003ccite>(Courtesy Odette Pollar )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Rainbow Sign opened its doors in 1971, but was forced to shut down just six years later, in 1977, after its founders couldn’t raise enough money to buy the building.\u003c/p>\n\u003cp>Despite its short existence, the venue left an indelible mark on many young people in the community who attended events in the intimate wood-paneled hall and had the unique opportunity to engage with its legendary performers and guests.\u003c/p>\n\u003cfigure id=\"attachment_11901143\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/01/Art.16-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11901143\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/01/Art.16-scaled.jpg\" alt=\"Kamala Harris as a young girl.\" width=\"2560\" height=\"1753\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/Art.16-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/Art.16-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/Art.16-1020x698.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/Art.16-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/Art.16-1536x1052.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/Art.16-2048x1402.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/Art.16-1920x1315.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kamala Harris, at age seven, in Berkeley. In her memoir, Harris recalls attending events as a young girl at The Rainbow Sign, including a Nina Simone concert. \u003ccite>(Courtesy Kamala Harris/Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11901151\" class=\"wp-caption alignright\" style=\"max-width: 187px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/01/RS-nina-simone-brochure.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-11901151\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/01/RS-nina-simone-brochure.jpg\" alt=\"A flyer for a Nina Simone performance.\" width=\"187\" height=\"280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/RS-nina-simone-brochure.jpg 468w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/RS-nina-simone-brochure-160x240.jpg 160w\" sizes=\"(max-width: 187px) 100vw, 187px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A flyer for a series of Nina Simone performances at The Rainbow Sign, one of which Kamala Harris attended when she was seven. \u003ccite>(Courtesy Odette Pollar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a young girl in Berkeley in the 1970s, Harris was among those impressionable visitors. In her 2019 autobiography, “The Truths We Hold: An American Journey,” she describes her experience attending concerts and events, including one particular memory from when she was seven of seeing Nina Simone perform.\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>“My favorite night of the week was Thursday. On Thursdays, you could always find us in an unassuming beige building on the corner of what was then Grove Street and Derby. Once a mortuary, the building I knew was bursting with life, home to a pioneering black cultural center, the Rainbow Sign. … It was where I learned that artistic expression, ambition and intelligence were cool. It was where I came to understand that there is no better way to feed someone’s brain than by bringing together food, poetry, politics, music, dance and art.”\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>This week, The California Report Magazine takes you inside The Rainbow Sign to hear from some of the artists, audience members and cultural and political leaders whose lives were shaped by this remarkable California cultural landmark.\u003c/p>\n\u003cfigure id=\"attachment_11901149\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/01/rainbowsign_dance_750.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11901149\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/01/rainbowsign_dance_750.png\" alt=\"Women in a dance class.\" width=\"900\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/rainbowsign_dance_750.png 750w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/rainbowsign_dance_750-160x107.png 160w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A dance class at The Rainbow Sign in the 1970s. \u003ccite>(Courtesy Odette Pollar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11901148\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/01/IMG_4523-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11901148\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/01/IMG_4523-scaled.jpg\" alt=\"The front of a building with columns.\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/IMG_4523-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/IMG_4523-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/IMG_4523-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/IMG_4523-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/IMG_4523-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/IMG_4523-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/IMG_4523-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The building on Martin Luther King Jr. Way and Derby streets in Berkeley, where The Rainbow Sign was once located. \u003ccite>(Marisa Lagos/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Special thanks to Tessa Rissacher and Max Lopez, who as UC Berkeley undergraduate students worked to compile an extensive \u003ca href=\"https://revolution.berkeley.edu/projects/rainbow-sign/\">online archive\u003c/a> of documents, photographs and memorabilia from The Rainbow Sign.\u003c/p>\n\u003cp>\u003cem>Audio excerpted from “The Truths We Hold: An American Journey” by Kamala Harris, read by the author. Copyright 2019 by Kamala D. Harris. Production copyright 2019, Penguin Random House LLC. All rights reserved.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This is an updated version of a story originally published in January, 2022. As Kamala Harris takes center stage as a presidential candidate and tries to tell the nation her story, we wanted to revisit The Rainbow Sign and its influence on her as a child growing up in Berkeley. \u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\">Listen to this and more in-depth storytelling by subscribing to The California Report Magazine podcast\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>oday, it’s an unassuming beige building on a busy Berkeley street. But in the 1970s, it housed a groundbreaking center for Black culture, politics and art — a place that profoundly shaped Vice President Kamala Harris’ young life.\u003c/p>\n\u003cp>The Rainbow Sign hosted dozens of high-profile Black luminaries, including James Baldwin, Nina Simone, Maya Angelou and Shirley Chisholm, the first Black woman elected to Congress who, in another first, went on to run for president in 1972.\u003c/p>\n\u003cfigure id=\"attachment_11901153\" class=\"wp-caption aligncenter\" style=\"max-width: 1340px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/01/image5.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11901153\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/01/image5.png\" alt=\"Author James Baldwin greet a young child and mother at the door.\" width=\"1340\" height=\"1308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/image5.png 1340w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/image5-800x781.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/image5-1020x996.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/image5-160x156.png 160w\" sizes=\"(max-width: 1340px) 100vw, 1340px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Author James Baldwin greets visitors to The Rainbow Sign in Berkeley in the 1970s. \u003ccite>(Courtesy Odette Pollar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11901155\" class=\"wp-caption aligncenter\" style=\"max-width: 1370px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/01/image14.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11901155\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/01/image14.png\" alt=\"Author James Baldwin smokes a cigarette with a woman.\" width=\"1370\" height=\"1376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/image14.png 1370w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/image14-800x804.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/image14-1020x1024.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/image14-160x161.png 160w\" sizes=\"(max-width: 1370px) 100vw, 1370px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Baldwin and The Rainbow Sign founder Mary Ann Pollar take a smoke break. \u003ccite>(Courtesy Odette Pollar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Located at the corner of Grove (now Martin Luther King Jr. Way) and Derby streets in Berkeley, The Rainbow Sign was a Black-centered space that was open to all — as a performance venue, a political organizing nexus and a legendary cafe. Its founder, \u003ca href=\"https://www.kqed.org/arts/13926548/mary-ann-pollar-presents-rainbow-sign-berkeley-nina-simone-bob-dylan\">Mary Ann Pollar\u003c/a>, saw it as part of a movement for the liberation of all people through art, education and community building.\u003c/p>\n\u003cfigure id=\"attachment_11901145\" class=\"wp-caption aligncenter\" style=\"max-width: 1086px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/01/Copy-of-thumb_513741919.937318_1024.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11901145\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/01/Copy-of-thumb_513741919.937318_1024.jpg\" alt=\"A flyer that says 'The Rainbow Sign' with a picture of a man.\" width=\"1086\" height=\"724\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/Copy-of-thumb_513741919.937318_1024.jpg 1086w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/Copy-of-thumb_513741919.937318_1024-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/Copy-of-thumb_513741919.937318_1024-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/Copy-of-thumb_513741919.937318_1024-160x107.jpg 160w\" sizes=\"(max-width: 1086px) 100vw, 1086px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">An invitation for the opening night of The Rainbow Sign in 1971. \u003ccite>(Courtesy Odette Pollar )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Rainbow Sign opened its doors in 1971, but was forced to shut down just six years later, in 1977, after its founders couldn’t raise enough money to buy the building.\u003c/p>\n\u003cp>Despite its short existence, the venue left an indelible mark on many young people in the community who attended events in the intimate wood-paneled hall and had the unique opportunity to engage with its legendary performers and guests.\u003c/p>\n\u003cfigure id=\"attachment_11901143\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/01/Art.16-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11901143\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/01/Art.16-scaled.jpg\" alt=\"Kamala Harris as a young girl.\" width=\"2560\" height=\"1753\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/Art.16-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/Art.16-800x548.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/Art.16-1020x698.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/Art.16-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/Art.16-1536x1052.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/Art.16-2048x1402.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/Art.16-1920x1315.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kamala Harris, at age seven, in Berkeley. In her memoir, Harris recalls attending events as a young girl at The Rainbow Sign, including a Nina Simone concert. \u003ccite>(Courtesy Kamala Harris/Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11901151\" class=\"wp-caption alignright\" style=\"max-width: 187px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/01/RS-nina-simone-brochure.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-11901151\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/01/RS-nina-simone-brochure.jpg\" alt=\"A flyer for a Nina Simone performance.\" width=\"187\" height=\"280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/RS-nina-simone-brochure.jpg 468w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/RS-nina-simone-brochure-160x240.jpg 160w\" sizes=\"(max-width: 187px) 100vw, 187px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A flyer for a series of Nina Simone performances at The Rainbow Sign, one of which Kamala Harris attended when she was seven. \u003ccite>(Courtesy Odette Pollar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a young girl in Berkeley in the 1970s, Harris was among those impressionable visitors. In her 2019 autobiography, “The Truths We Hold: An American Journey,” she describes her experience attending concerts and events, including one particular memory from when she was seven of seeing Nina Simone perform.\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>“My favorite night of the week was Thursday. On Thursdays, you could always find us in an unassuming beige building on the corner of what was then Grove Street and Derby. Once a mortuary, the building I knew was bursting with life, home to a pioneering black cultural center, the Rainbow Sign. … It was where I learned that artistic expression, ambition and intelligence were cool. It was where I came to understand that there is no better way to feed someone’s brain than by bringing together food, poetry, politics, music, dance and art.”\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>This week, The California Report Magazine takes you inside The Rainbow Sign to hear from some of the artists, audience members and cultural and political leaders whose lives were shaped by this remarkable California cultural landmark.\u003c/p>\n\u003cfigure id=\"attachment_11901149\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/01/rainbowsign_dance_750.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11901149\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/01/rainbowsign_dance_750.png\" alt=\"Women in a dance class.\" width=\"900\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/rainbowsign_dance_750.png 750w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/rainbowsign_dance_750-160x107.png 160w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A dance class at The Rainbow Sign in the 1970s. \u003ccite>(Courtesy Odette Pollar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_11901148\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/01/IMG_4523-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11901148\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/01/IMG_4523-scaled.jpg\" alt=\"The front of a building with columns.\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/IMG_4523-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/IMG_4523-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/IMG_4523-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/IMG_4523-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/IMG_4523-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/IMG_4523-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/01/IMG_4523-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The building on Martin Luther King Jr. Way and Derby streets in Berkeley, where The Rainbow Sign was once located. \u003ccite>(Marisa Lagos/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Special thanks to Tessa Rissacher and Max Lopez, who as UC Berkeley undergraduate students worked to compile an extensive \u003ca href=\"https://revolution.berkeley.edu/projects/rainbow-sign/\">online archive\u003c/a> of documents, photographs and memorabilia from The Rainbow Sign.\u003c/p>\n\u003cp>\u003cem>Audio excerpted from “The Truths We Hold: An American Journey” by Kamala Harris, read by the author. Copyright 2019 by Kamala D. Harris. Production copyright 2019, Penguin Random House LLC. All rights reserved.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "pinole-honors-punk-icons-green-day-with-key-to-the-city",
"title": "Pinole Honors Punk Icons Green Day With Key to the City",
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"headTitle": "Pinole Honors Punk Icons Green Day With Key to the City | KQED",
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"content": "\u003cp>Hundreds of fans of the punk rock band Green Day cheered as Pinole city officials honored the band members for their impact and ties to the local community with the key to the city, a commemorative plaque and mural outside a 7-Eleven store on Sunday afternoon.\u003c/p>\n\u003cp>As eager fans wearing Green Day T-shirts waited for the band to show up, they sang along to their favorite songs and held instruments and memorabilia they hoped to get autographed.\u003c/p>\n\u003cfigure id=\"attachment_12005877\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-63_qed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12005877\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-63_qed.jpg\" alt=\"A man wearing sun glasses writes on an object as several people reach out to him behind a gate.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-63_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-63_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-63_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-63_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-63_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-63_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Green Day band member Billie Joe Armstrong signs autographs outside of a 7-Eleven in Pinole, the band’s go-to spot in high school. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Just to be in close proximity with them is really exciting for me,” says Jasmine Buckles, who arrived in the morning from San Ramon to wait for the event. “I just went to their concert on Friday night at Oracle Park, and it was amazing.”\u003c/p>\n\u003cp>Buckles brought along Funko Pop figures modeled after the band members to get signed.\u003c/p>\n\u003cfigure id=\"attachment_12005873\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-49_qed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12005873\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-49_qed.jpg\" alt=\"A person holds three toy figurines next to a crowd of people.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-49_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-49_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-49_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-49_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-49_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-49_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A Green Day fan with Funko Pops of the Green Day band members attends the event honoring the band. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Green Day first formed in 1986 in the town of Rodeo, 3 miles north of Sunday’s event. Band members Billie Joe Armstrong and Mike Dirnt both attended Pinole Valley High School, right across the street from the 7-Eleven.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I didn’t quite make it all the way through high school,” Armstrong says in a short speech. “But Mike did, and the day after he graduated from high school, we took off on our first tour.”\u003c/p>\n\u003cp>Calling the band’s return to Pinole a “full circle” moment, Armstrong acknowledged family and friends, including his mother, siblings and his first piano teacher.\u003c/p>\n\u003cp>The small crowd in Pinole paled in comparison to the 42,000 fans who came to see the band two nights earlier in a sold-out show at Oracle Park in San Francisco. Green Day is currently on a stadium tour, playing their albums “Dookie” and “American Idiot,” as well as their fan favorites. The tour ends on Sept. 28 at Petco Park in San Diego.\u003c/p>\n\u003cfigure id=\"attachment_12005874\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-53_qed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12005874\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-53_qed.jpg\" alt=\"A woman holds her phone as a man leans in to pose for a photo behind a crow of people.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-53_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-53_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-53_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-53_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-53_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-53_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Green Day band member Mike Dirnt takes a selfie with fan Alyssa Arriola of Reno outside of a 7-Eleven in Pinole. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Free coffee samples were provided by the band’s Punk Bunny Coffee brand. Green Day recently announced a partnership with 7-Eleven to release their Anniversary Blend of coffee, celebrating the 30th anniversary of their breakout album “Dookie,” as well as commemorating the convenience store’s 60th anniversary.\u003c/p>\n\u003cfigure id=\"attachment_12005871\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-38_qed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12005871\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-38_qed.jpg\" alt=\"Two women and three men stand next to each other with one holding up a plaque with a key on it.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-38_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-38_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-38_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-38_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-38_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-38_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Pinole Mayor Maureen Toms gives punk rock band Green Day the key to the city at the local 7-Eleven, honoring the band’s impact in their community. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There absolutely is local pride in having them from Pinole, and of course coming back to visit us and having the kickoff for their coffee company right here locally,” Pinole Mayor Maureen Toms says. “The key to the city is just a symbolic gesture that we’re recognizing that these folks are important.”\u003c/p>\n\u003cfigure id=\"attachment_12005868\" class=\"wp-caption aligncenter\" style=\"max-width: 1975px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-26_qed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12005868\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-26_qed.jpg\" alt=\"A man holds a plaque with a key on it.\" width=\"1975\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-26_qed.jpg 1975w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-26_qed-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-26_qed-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-26_qed-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-26_qed-1536x1037.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-26_qed-1920x1296.jpg 1920w\" sizes=\"(max-width: 1975px) 100vw, 1975px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Green Day band member Billie Joe Armstrong holds Pinole’s key to the city, presented to the band for their impact in the community. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Toms says representatives from Punk Bunny and Green Day reached out to city staff about plans for the plaque dedication, and they were excited to participate.\u003c/p>\n\u003cfigure id=\"attachment_12005867\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-25_qed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12005867\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-25_qed.jpg\" alt=\"Someone's hand makes a punk rock gesture next to a plaque.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-25_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-25_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-25_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-25_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-25_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-25_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Punk rock band Green Day gets presented with a plaque, honoring the band’s impact in the community, at a 7-Eleven in Pinole. The plaque pays tribute to the band’s lyrics. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Green Day’s commemorative plaque was unveiled outside of the 7-Eleven store, one of the band members’ frequent hangout spots in high school. The plaque featured lyrics from the song “Jesus of Suburbia,” reading, “At the center of the earth in the parking lot of the 7-Eleven… Billie, Mike and Tre were here.”\u003c/p>\n\u003cp>Band members also spray-painted their signatures on a mural dedicated to the band.\u003c/p>\n\u003cfigure id=\"attachment_12005872\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-42_qed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12005872\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-42_qed.jpg\" alt=\"A man wearing sun glasses spray paints a wall.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-42_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-42_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-42_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-42_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-42_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-42_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Green Day’s Billie Joe Armstrong spray paints his name on a mural in the band’s honor at a 7-Eleven in Pinole. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In his speech, bassist Mike Dirnt acknowledged how much attitudes about punk had changed since he and Armstrong walked the halls of Pinole Valley High School.\u003c/p>\n\u003cp>“I look around now and think, wow, half of us would have gotten beat up back then for looking the way we look now. And now, the same people who might have wanted to beat us up, they understand us, and we’re understood all around the planet. So this is an amazing thing. … Great things can come from anywhere,” Dirnt says.\u003c/p>\n\u003cfigure id=\"attachment_12005878\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-33_qed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12005878\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-33_qed.jpg\" alt=\"Three men stand together next to a person in an animal mascot costume with their hands raised.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-33_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-33_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-33_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-33_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-33_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-33_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Punk rock band Green Day gets presented with Pinole’s key to the city, a plaque and mural, honoring the band’s impact in the community. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When you live here and are raised here, you feel like they’re just a part of everything that is the East Bay,” says Sarah Paine, who arrived early to the store with her 10-year-old daughter Virginia Gale waiting in anticipation. “They played their music, and you just knew they were icons. It was great. My teenage self is very happy right now.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>KQED’s Spencer Whitney, Katherine Monahan and Gina Castro contributed reporting to this story.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Hundreds of fans lined up outside a 7-Eleven to cheer on Green Day as the band was presented with Pinole's key to the city, a commemorative plaque and mural honoring their impact.",
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"title": "Pinole Honors Punk Icons Green Day With Key to the City | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hundreds of fans of the punk rock band Green Day cheered as Pinole city officials honored the band members for their impact and ties to the local community with the key to the city, a commemorative plaque and mural outside a 7-Eleven store on Sunday afternoon.\u003c/p>\n\u003cp>As eager fans wearing Green Day T-shirts waited for the band to show up, they sang along to their favorite songs and held instruments and memorabilia they hoped to get autographed.\u003c/p>\n\u003cfigure id=\"attachment_12005877\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-63_qed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12005877\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-63_qed.jpg\" alt=\"A man wearing sun glasses writes on an object as several people reach out to him behind a gate.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-63_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-63_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-63_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-63_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-63_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-63_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Green Day band member Billie Joe Armstrong signs autographs outside of a 7-Eleven in Pinole, the band’s go-to spot in high school. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Just to be in close proximity with them is really exciting for me,” says Jasmine Buckles, who arrived in the morning from San Ramon to wait for the event. “I just went to their concert on Friday night at Oracle Park, and it was amazing.”\u003c/p>\n\u003cp>Buckles brought along Funko Pop figures modeled after the band members to get signed.\u003c/p>\n\u003cfigure id=\"attachment_12005873\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-49_qed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12005873\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-49_qed.jpg\" alt=\"A person holds three toy figurines next to a crowd of people.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-49_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-49_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-49_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-49_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-49_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-49_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A Green Day fan with Funko Pops of the Green Day band members attends the event honoring the band. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Green Day first formed in 1986 in the town of Rodeo, 3 miles north of Sunday’s event. Band members Billie Joe Armstrong and Mike Dirnt both attended Pinole Valley High School, right across the street from the 7-Eleven.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I didn’t quite make it all the way through high school,” Armstrong says in a short speech. “But Mike did, and the day after he graduated from high school, we took off on our first tour.”\u003c/p>\n\u003cp>Calling the band’s return to Pinole a “full circle” moment, Armstrong acknowledged family and friends, including his mother, siblings and his first piano teacher.\u003c/p>\n\u003cp>The small crowd in Pinole paled in comparison to the 42,000 fans who came to see the band two nights earlier in a sold-out show at Oracle Park in San Francisco. Green Day is currently on a stadium tour, playing their albums “Dookie” and “American Idiot,” as well as their fan favorites. The tour ends on Sept. 28 at Petco Park in San Diego.\u003c/p>\n\u003cfigure id=\"attachment_12005874\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-53_qed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12005874\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-53_qed.jpg\" alt=\"A woman holds her phone as a man leans in to pose for a photo behind a crow of people.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-53_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-53_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-53_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-53_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-53_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-53_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Green Day band member Mike Dirnt takes a selfie with fan Alyssa Arriola of Reno outside of a 7-Eleven in Pinole. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Free coffee samples were provided by the band’s Punk Bunny Coffee brand. Green Day recently announced a partnership with 7-Eleven to release their Anniversary Blend of coffee, celebrating the 30th anniversary of their breakout album “Dookie,” as well as commemorating the convenience store’s 60th anniversary.\u003c/p>\n\u003cfigure id=\"attachment_12005871\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-38_qed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12005871\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-38_qed.jpg\" alt=\"Two women and three men stand next to each other with one holding up a plaque with a key on it.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-38_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-38_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-38_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-38_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-38_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-38_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Pinole Mayor Maureen Toms gives punk rock band Green Day the key to the city at the local 7-Eleven, honoring the band’s impact in their community. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There absolutely is local pride in having them from Pinole, and of course coming back to visit us and having the kickoff for their coffee company right here locally,” Pinole Mayor Maureen Toms says. “The key to the city is just a symbolic gesture that we’re recognizing that these folks are important.”\u003c/p>\n\u003cfigure id=\"attachment_12005868\" class=\"wp-caption aligncenter\" style=\"max-width: 1975px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-26_qed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12005868\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-26_qed.jpg\" alt=\"A man holds a plaque with a key on it.\" width=\"1975\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-26_qed.jpg 1975w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-26_qed-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-26_qed-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-26_qed-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-26_qed-1536x1037.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-26_qed-1920x1296.jpg 1920w\" sizes=\"(max-width: 1975px) 100vw, 1975px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Green Day band member Billie Joe Armstrong holds Pinole’s key to the city, presented to the band for their impact in the community. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Toms says representatives from Punk Bunny and Green Day reached out to city staff about plans for the plaque dedication, and they were excited to participate.\u003c/p>\n\u003cfigure id=\"attachment_12005867\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-25_qed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12005867\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-25_qed.jpg\" alt=\"Someone's hand makes a punk rock gesture next to a plaque.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-25_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-25_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-25_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-25_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-25_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-25_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Punk rock band Green Day gets presented with a plaque, honoring the band’s impact in the community, at a 7-Eleven in Pinole. The plaque pays tribute to the band’s lyrics. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Green Day’s commemorative plaque was unveiled outside of the 7-Eleven store, one of the band members’ frequent hangout spots in high school. The plaque featured lyrics from the song “Jesus of Suburbia,” reading, “At the center of the earth in the parking lot of the 7-Eleven… Billie, Mike and Tre were here.”\u003c/p>\n\u003cp>Band members also spray-painted their signatures on a mural dedicated to the band.\u003c/p>\n\u003cfigure id=\"attachment_12005872\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-42_qed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12005872\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-42_qed.jpg\" alt=\"A man wearing sun glasses spray paints a wall.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-42_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-42_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-42_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-42_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-42_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-42_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Green Day’s Billie Joe Armstrong spray paints his name on a mural in the band’s honor at a 7-Eleven in Pinole. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In his speech, bassist Mike Dirnt acknowledged how much attitudes about punk had changed since he and Armstrong walked the halls of Pinole Valley High School.\u003c/p>\n\u003cp>“I look around now and think, wow, half of us would have gotten beat up back then for looking the way we look now. And now, the same people who might have wanted to beat us up, they understand us, and we’re understood all around the planet. So this is an amazing thing. … Great things can come from anywhere,” Dirnt says.\u003c/p>\n\u003cfigure id=\"attachment_12005878\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-33_qed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12005878\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-33_qed.jpg\" alt=\"Three men stand together next to a person in an animal mascot costume with their hands raised.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-33_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-33_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-33_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-33_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-33_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240922_GreenDayPinole_GC-33_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Punk rock band Green Day gets presented with Pinole’s key to the city, a plaque and mural, honoring the band’s impact in the community. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When you live here and are raised here, you feel like they’re just a part of everything that is the East Bay,” says Sarah Paine, who arrived early to the store with her 10-year-old daughter Virginia Gale waiting in anticipation. “They played their music, and you just knew they were icons. It was great. My teenage self is very happy right now.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>KQED’s Spencer Whitney, Katherine Monahan and Gina Castro contributed reporting to this story.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/sundaymusicdrop\">The Sunday Music Drop is a weekly radio series hosted by the KQED weekend news team.\u003c/a> In each segment, we feature a song from a local musician or band with an upcoming show and hear about what inspires their music.\u003c/em>\u003c/p>\n\u003cp>Singer and songwriter Karina Gill of Cindy, a San Francisco and Oakland-based “song-based” lo-fi band, started writing songs around 2017, and had never been in a band or played music before.\u003c/p>\n\u003cp>“One of my roommates at the time was a drummer and kind of overheard me in the house and offered to play with me, and that’s sort of how it got started as a band,” said Gill. “As soon as I started [playing music], I could tell that this was a way that I could make myself understood in a way that really isn’t available in any other medium.”\u003c/p>\n\u003cp>Gill describes the band’s sound as “song music,” because it adheres to a song structure and the songs are written based on her experiences and thoughts over the years. “All Weekend” was inspired by her experience during an elevator ride in a public library with a stranger who was focused on their own internal world. The song is about people’s “doubleness,” referring to their external and internal experiences.\u003c/p>\n\u003cp>“You can be thinking about something entirely [different that’s] not in front of you while sitting on the bus or on the train or walking down the street,” she said. “This song touches on that in a lot of different ways, both through experiences of having interactions with strangers and also just that sense of having a private world going on as you walk through a public space.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Regarding the band’s name, Gill says that she wanted something opaque that didn’t tell anyone much about the music. “It’s one of those names that fits a lot of different types and lots of personalities,” she said. “And so I liked how it was recognizable, but also didn’t lead you down a specific road of thought.”\u003c/p>\n\u003cp>Gill hopes people will pay attention to the music in a relaxed way. “I think that’s a kind of great thing to hear something and have your ear caught long enough that you’re not thinking about what you have to eat for dinner or whatever [and] that you’re able to just pay attention to the experience of it,” she said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The band’s members also include Olly Lipton, Stayzhe Rodriguez, and Will Smith. “All Weekend” also features Stanley Martinez on guitar and Mike Ramos on drums. You can see them perform at the \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/the-reds-pinks-and-purples-cindy-7pm-doors-8pm-show-20\">Four Star Theater\u003c/a> in San Francisco on Oct. 11th at 7 p.m.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/sundaymusicdrop\">The Sunday Music Drop is a weekly radio series hosted by the KQED weekend news team.\u003c/a> In each segment, we feature a song from a local musician or band with an upcoming show and hear about what inspires their music.\u003c/em>\u003c/p>\n\u003cp>Singer and songwriter Karina Gill of Cindy, a San Francisco and Oakland-based “song-based” lo-fi band, started writing songs around 2017, and had never been in a band or played music before.\u003c/p>\n\u003cp>“One of my roommates at the time was a drummer and kind of overheard me in the house and offered to play with me, and that’s sort of how it got started as a band,” said Gill. “As soon as I started [playing music], I could tell that this was a way that I could make myself understood in a way that really isn’t available in any other medium.”\u003c/p>\n\u003cp>Gill describes the band’s sound as “song music,” because it adheres to a song structure and the songs are written based on her experiences and thoughts over the years. “All Weekend” was inspired by her experience during an elevator ride in a public library with a stranger who was focused on their own internal world. The song is about people’s “doubleness,” referring to their external and internal experiences.\u003c/p>\n\u003cp>“You can be thinking about something entirely [different that’s] not in front of you while sitting on the bus or on the train or walking down the street,” she said. “This song touches on that in a lot of different ways, both through experiences of having interactions with strangers and also just that sense of having a private world going on as you walk through a public space.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Regarding the band’s name, Gill says that she wanted something opaque that didn’t tell anyone much about the music. “It’s one of those names that fits a lot of different types and lots of personalities,” she said. “And so I liked how it was recognizable, but also didn’t lead you down a specific road of thought.”\u003c/p>\n\u003cp>Gill hopes people will pay attention to the music in a relaxed way. “I think that’s a kind of great thing to hear something and have your ear caught long enough that you’re not thinking about what you have to eat for dinner or whatever [and] that you’re able to just pay attention to the experience of it,” she said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The band’s members also include Olly Lipton, Stayzhe Rodriguez, and Will Smith. “All Weekend” also features Stanley Martinez on guitar and Mike Ramos on drums. You can see them perform at the \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/the-reds-pinks-and-purples-cindy-7pm-doors-8pm-show-20\">Four Star Theater\u003c/a> in San Francisco on Oct. 11th at 7 p.m.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "sf-artist-curates-exhibition-that-amplifies-reparations-reclaims-the-citys-black-history",
"title": "SF Artist Curates Exhibition That Amplifies Reparations, Reclaims the City’s Black History",
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"content": "\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> This story is part of KQED’s coverage of reparations in California. For more information on the project, \u003ca href=\"https://www.kqed.org/reparations\">click here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Auttrianna Ward was walking around Fisherman’s Wharf with her father when she picked up a map of the city. Ward, then 8, couldn’t find Hunters Point, the neighborhood her family had lived in for generations, on the map.\u003c/p>\n\u003cp>It was left off.\u003c/p>\n\u003cp>“At first, I was confused,” Ward, a 35-year-old artist and curator, recently told KQED. “This is the city I grew up in, but the neighborhood I lived in wasn’t on the tourist map. I realized in moments like that that they didn’t want us to be seen by other parts of San Francisco or by tourists.\u003c/p>\n\u003cp>“They didn’t want us to be a reflection of the city.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The omission of Hunters Point, once a predominantly Black neighborhood, stuck with Ward, who was raised around activism. A new art exhibition taps into that spirit.\u003c/p>\n\u003cp>\u003cem>The Remedy is Solidarity: A Global Multimedia Anthology on Reparations Volume 1.1: Too Much Like Right\u003c/em>, an art exhibition in support of San Francisco’s African American Reparations Advisory Committee and curated by Ward, with Malik Seneferu, opened Saturday. The exhibition seeks to spark dialogue about reparations, as well as highlight the history, displacement and trauma of the city’s Black community.\u003c/p>\n\u003cp>\u003cem>Too Much Like Right\u003c/em> is the title of Ward’s experimental film that takes on the systemic injustices incurred by Black families in San Francisco through family interviews, archival footage and more. \u003cem>The Remedy is Solidarity\u003c/em> is associated with the Museum of the African Diaspora’s \u003ca href=\"https://www.kqed.org/arts/13965269/the-bay-areas-first-ever-black-art-week-is-coming\">“Nexus: SF/Bay Area Black Art Week,” which begins Oct. 1\u003c/a>.\u003c/p>\n\u003cp>“We want to make reparations irresistible,” Ward said. “Art is a way to make those ideas accessible and to open up the imagination to what reparations can look like.”\u003c/p>\n\u003cp>ZEAL, a creative arts alliance and social impact studio, produced the exhibition.\u003c/p>\n\u003cp>“\u003cem>The Remedy is Solidarity\u003c/em> is a growing collection of exhibitions, scenes, photo text essays, short artistic films that give a contemporary, fresh look at the reparations movement today,” ZEAL’s co-founder, Allen Kwabena-Frimpong, said. “We’re seeing the opportunity for people to be able to grapple with that process, hopefully from a space of joy rather than a space of burden.”\u003c/p>\n\u003cfigure id=\"attachment_12005669\" class=\"wp-caption alignleft\" style=\"max-width: 568px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12005669\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/Black-Art-Week.png\" alt=\"\" width=\"568\" height=\"758\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/Black-Art-Week.png 568w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/Black-Art-Week-160x214.png 160w\" sizes=\"(max-width: 568px) 100vw, 568px\">\u003cfigcaption class=\"wp-caption-text\">Allen Kwabena Frimpong (left), ZEAL co-founder and principal cultural design and executive producer of “The Remedy is Solidarity: A Global Multimedia Anthology on Reparations,” stands next to Auttrianna Ward, an artist and exhibition curator. \u003ccite>(Courtesy Anya GTA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ward, a fourth-generation San Franciscan, is a descendant of the Rogers family — a family of activists, community leaders and artists. Her great-uncle, Adam Rogers, was a street activist who was credited with helping to ease tensions during the Hunters Point racial uprising of 1966. His son, Terrell Rogers, was an anti-violence activist and founder of the Peacekeepers, a nonprofit group.\u003c/p>\n\u003cp>The Rogers family was part of the Great Migration. Seeking relief from racial segregation, discrimination and lynchings, the totems of Jim Crow-era laws and racial terror, an estimated six million Black Americans left the south for more hospitable treatment in other regions from about 1910-1970.\u003c/p>\n\u003cp>Hundreds of thousands of Black people relocated to California, settling in Los Angeles, San Francisco and Oakland, securing wartime jobs and building communities. In San Francisco, Black people and other racial minorities were segregated in neighborhoods like the Fillmore, the Western Addition and Hunters Point.\u003c/p>\n\u003cp>The Fillmore became known as the “Harlem of the West” because of the large number of Black businesses and entertainment venues in the area. Black people thrived for decades in the Fillmore until the San Francisco Redevelopment Agency embarked on one of the largest projects of urban renewal on the West Coast. More than 13,000 residents were displaced, leading to the loss in homeownership and household wealth.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/news/11956963/how-black-californians-had-their-land-stolen\">The theft of land, displacement and erasure has tormented Black people since emancipation\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12005671\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12005671\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/Black-Art-Week-Auttrianna-Ward-We-too-sing-San-Francisco-2024.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/Black-Art-Week-Auttrianna-Ward-We-too-sing-San-Francisco-2024.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/Black-Art-Week-Auttrianna-Ward-We-too-sing-San-Francisco-2024-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/Black-Art-Week-Auttrianna-Ward-We-too-sing-San-Francisco-2024-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/Black-Art-Week-Auttrianna-Ward-We-too-sing-San-Francisco-2024-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/Black-Art-Week-Auttrianna-Ward-We-too-sing-San-Francisco-2024-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Artist and exhibition curator, Auttrianna Ward’s “We, too, sing, San Francisco 2024.” \u003ccite>(Courtesy ZEAL)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since the early 1970s, much of San Francisco’s Black population has been heavily concentrated in the Western Addition and Bayview-Hunters Point. Black residents became more isolated, because restrictive housing covenants denied them the right to own homes in other neighborhoods.\u003c/p>\n\u003cp>“People didn’t know that we existed,” Ward said. “This is a story many Black natives know, but it is not a part of the story told about San Francisco nationally or globally.”\u003c/p>\n\u003cp>In 2021, California launched the first statewide task force to study reparations for Black people, which \u003ca href=\"https://www.kqed.org/reparations\">KQED has reported on since its inception\u003c/a>. The task force’s final report, published in June 2023, had over 100 policy proposals, as well as a plan to provide direct cash payments to eligible residents.\u003c/p>\n\u003cp>In February, the California Legislative Black Caucus announced the 14 reparations bills it was prioritizing, a curated list to test the limits of the state Legislature’s commitment to racial justice. None of the introduced bills included cash payments.\u003c/p>\n\u003cp>The centerpiece was a bill that would have formed the California American Freedman’s Affairs Agency to administer reparations programs, which faced little opposition from lawmakers. \u003ca href=\"https://www.kqed.org/news/12002804/centerpiece-reparations-bill-derailed-by-newsoms-late-request-heres-why\">Last-minute pressure from Gov. Gavin Newsom’s staff to change the bill divided Black lawmakers and stalled the bill\u003c/a>.\u003c/p>\n\u003cp>In San Francisco, the Board of Supervisors formally apologized to Black people and their descendants for the city’s role in perpetuating racism and discrimination in February. But that is the only recommendation, from more than 100 proposals made by the city’s African American Reparations Advisory Committee, that has won approval.\u003c/p>\n\u003cfigure id=\"attachment_12005673\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12005673\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/Black-Art-Week-Cheryl-Derricotte2-800x1000.jpg\" alt=\"\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/Black-Art-Week-Cheryl-Derricotte2-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/Black-Art-Week-Cheryl-Derricotte2-1020x1274.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/Black-Art-Week-Cheryl-Derricotte2-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/Black-Art-Week-Cheryl-Derricotte2-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/Black-Art-Week-Cheryl-Derricotte2-1639x2048.jpg 1639w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/Black-Art-Week-Cheryl-Derricotte2-1920x2399.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/Black-Art-Week-Cheryl-Derricotte2.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cheryl Derricotte’s “How I Crossed Over” will be featured in “The Remedy is Solidarity: A Global Multimedia Anthology on Reparations Volume 1.1 Too Much Like Right,” an exhibition that opened at Swim Gallery on Sept. 21. \u003ccite>(Courtesy ZEAL)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Remedy is Solidarity\u003c/em> kicked off Saturday at the Yerba Buena Center for the Arts with Ward’s film and a panel discussion moderated by Eric McDonnell, chair of the city’s reparations committee. A group show featuring visual artists also opened at the Swim Gallery.\u003c/p>\n\u003cp>Today, ZEAL will host a reparations summit at Yerba Buena, including a panel titled “On the Issue of Compensation: Our Cultural Value in the Creative Economy.” The panel, moderated by Anshantia Oso, senior director of Media 2070 and a ZEAL co-founder, will feature Ward and Frimpong.\u003c/p>\n\u003cp>They will be joined on the panel by Monetta White, executive director and CEO of MoAD, and Otis R. Taylor Jr., KQED’s managing editor of the news and enterprise, and the editor of “The Road to Reparations,” the organization’s project chronicling the reparations effort in California.\u003c/p>\n\u003cp>\u003cem>The Remedy is Solidarity’s \u003c/em>programming includes collages created by youth from the Alice Griffith housing redevelopment project in the Bayview that will be projected in the Hunters Point Naval Shipyard.\u003c/p>\n\u003cp>The project will close on Oct. 20 with a healing day at Adam Rogers Park in the Bayview. The park is named after Ward’s great-uncle, who was referred to as the Mayor of Bayview by some residents. Dr. Cheryl Grills, a member of the California Reparations Task Force, will lead the conversation in the context of the film \u003cem>Pathologizing the Black Family\u003c/em>.\u003c/p>\n\u003cp>In Ward’s household, as well as other Black homes in the city, “too much like right” was a common expression, she said. It refers to the most logical or obvious course of action — like an opportunity to address or repair harm — not taken. The koan inspired the project’s title, which Ward offered as both an invitation and a challenge to San Francisco.\u003c/p>\n\u003cp>“Why wouldn’t we want a better version of our community? Will San Francisco do what is right or would that be too much like right?” she said.\u003c/p>\n\u003cp>\u003cem>For more information on “The Remedy is Solidarity: A Global Multimedia Anthology on Reparations Volume 1.1: Too Much Like Right,” visit \u003ca href=\"http://TheRemedyisSolidarity.com\">TheRemedyisSolidarity.com\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "San Francisco artist and curator Auttrianna Ward brings home a project that seeks to bring Black creatives into conversation with policymakers about reparations.",
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"title": "SF Artist Curates Exhibition That Amplifies Reparations, Reclaims the City’s Black History | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s Note:\u003c/strong> This story is part of KQED’s coverage of reparations in California. For more information on the project, \u003ca href=\"https://www.kqed.org/reparations\">click here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Auttrianna Ward was walking around Fisherman’s Wharf with her father when she picked up a map of the city. Ward, then 8, couldn’t find Hunters Point, the neighborhood her family had lived in for generations, on the map.\u003c/p>\n\u003cp>It was left off.\u003c/p>\n\u003cp>“At first, I was confused,” Ward, a 35-year-old artist and curator, recently told KQED. “This is the city I grew up in, but the neighborhood I lived in wasn’t on the tourist map. I realized in moments like that that they didn’t want us to be seen by other parts of San Francisco or by tourists.\u003c/p>\n\u003cp>“They didn’t want us to be a reflection of the city.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The omission of Hunters Point, once a predominantly Black neighborhood, stuck with Ward, who was raised around activism. A new art exhibition taps into that spirit.\u003c/p>\n\u003cp>\u003cem>The Remedy is Solidarity: A Global Multimedia Anthology on Reparations Volume 1.1: Too Much Like Right\u003c/em>, an art exhibition in support of San Francisco’s African American Reparations Advisory Committee and curated by Ward, with Malik Seneferu, opened Saturday. The exhibition seeks to spark dialogue about reparations, as well as highlight the history, displacement and trauma of the city’s Black community.\u003c/p>\n\u003cp>\u003cem>Too Much Like Right\u003c/em> is the title of Ward’s experimental film that takes on the systemic injustices incurred by Black families in San Francisco through family interviews, archival footage and more. \u003cem>The Remedy is Solidarity\u003c/em> is associated with the Museum of the African Diaspora’s \u003ca href=\"https://www.kqed.org/arts/13965269/the-bay-areas-first-ever-black-art-week-is-coming\">“Nexus: SF/Bay Area Black Art Week,” which begins Oct. 1\u003c/a>.\u003c/p>\n\u003cp>“We want to make reparations irresistible,” Ward said. “Art is a way to make those ideas accessible and to open up the imagination to what reparations can look like.”\u003c/p>\n\u003cp>ZEAL, a creative arts alliance and social impact studio, produced the exhibition.\u003c/p>\n\u003cp>“\u003cem>The Remedy is Solidarity\u003c/em> is a growing collection of exhibitions, scenes, photo text essays, short artistic films that give a contemporary, fresh look at the reparations movement today,” ZEAL’s co-founder, Allen Kwabena-Frimpong, said. “We’re seeing the opportunity for people to be able to grapple with that process, hopefully from a space of joy rather than a space of burden.”\u003c/p>\n\u003cfigure id=\"attachment_12005669\" class=\"wp-caption alignleft\" style=\"max-width: 568px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12005669\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/Black-Art-Week.png\" alt=\"\" width=\"568\" height=\"758\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/Black-Art-Week.png 568w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/Black-Art-Week-160x214.png 160w\" sizes=\"(max-width: 568px) 100vw, 568px\">\u003cfigcaption class=\"wp-caption-text\">Allen Kwabena Frimpong (left), ZEAL co-founder and principal cultural design and executive producer of “The Remedy is Solidarity: A Global Multimedia Anthology on Reparations,” stands next to Auttrianna Ward, an artist and exhibition curator. \u003ccite>(Courtesy Anya GTA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ward, a fourth-generation San Franciscan, is a descendant of the Rogers family — a family of activists, community leaders and artists. Her great-uncle, Adam Rogers, was a street activist who was credited with helping to ease tensions during the Hunters Point racial uprising of 1966. His son, Terrell Rogers, was an anti-violence activist and founder of the Peacekeepers, a nonprofit group.\u003c/p>\n\u003cp>The Rogers family was part of the Great Migration. Seeking relief from racial segregation, discrimination and lynchings, the totems of Jim Crow-era laws and racial terror, an estimated six million Black Americans left the south for more hospitable treatment in other regions from about 1910-1970.\u003c/p>\n\u003cp>Hundreds of thousands of Black people relocated to California, settling in Los Angeles, San Francisco and Oakland, securing wartime jobs and building communities. In San Francisco, Black people and other racial minorities were segregated in neighborhoods like the Fillmore, the Western Addition and Hunters Point.\u003c/p>\n\u003cp>The Fillmore became known as the “Harlem of the West” because of the large number of Black businesses and entertainment venues in the area. Black people thrived for decades in the Fillmore until the San Francisco Redevelopment Agency embarked on one of the largest projects of urban renewal on the West Coast. More than 13,000 residents were displaced, leading to the loss in homeownership and household wealth.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/news/11956963/how-black-californians-had-their-land-stolen\">The theft of land, displacement and erasure has tormented Black people since emancipation\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12005671\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12005671\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/Black-Art-Week-Auttrianna-Ward-We-too-sing-San-Francisco-2024.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/Black-Art-Week-Auttrianna-Ward-We-too-sing-San-Francisco-2024.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/Black-Art-Week-Auttrianna-Ward-We-too-sing-San-Francisco-2024-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/Black-Art-Week-Auttrianna-Ward-We-too-sing-San-Francisco-2024-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/Black-Art-Week-Auttrianna-Ward-We-too-sing-San-Francisco-2024-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/Black-Art-Week-Auttrianna-Ward-We-too-sing-San-Francisco-2024-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Artist and exhibition curator, Auttrianna Ward’s “We, too, sing, San Francisco 2024.” \u003ccite>(Courtesy ZEAL)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since the early 1970s, much of San Francisco’s Black population has been heavily concentrated in the Western Addition and Bayview-Hunters Point. Black residents became more isolated, because restrictive housing covenants denied them the right to own homes in other neighborhoods.\u003c/p>\n\u003cp>“People didn’t know that we existed,” Ward said. “This is a story many Black natives know, but it is not a part of the story told about San Francisco nationally or globally.”\u003c/p>\n\u003cp>In 2021, California launched the first statewide task force to study reparations for Black people, which \u003ca href=\"https://www.kqed.org/reparations\">KQED has reported on since its inception\u003c/a>. The task force’s final report, published in June 2023, had over 100 policy proposals, as well as a plan to provide direct cash payments to eligible residents.\u003c/p>\n\u003cp>In February, the California Legislative Black Caucus announced the 14 reparations bills it was prioritizing, a curated list to test the limits of the state Legislature’s commitment to racial justice. None of the introduced bills included cash payments.\u003c/p>\n\u003cp>The centerpiece was a bill that would have formed the California American Freedman’s Affairs Agency to administer reparations programs, which faced little opposition from lawmakers. \u003ca href=\"https://www.kqed.org/news/12002804/centerpiece-reparations-bill-derailed-by-newsoms-late-request-heres-why\">Last-minute pressure from Gov. Gavin Newsom’s staff to change the bill divided Black lawmakers and stalled the bill\u003c/a>.\u003c/p>\n\u003cp>In San Francisco, the Board of Supervisors formally apologized to Black people and their descendants for the city’s role in perpetuating racism and discrimination in February. But that is the only recommendation, from more than 100 proposals made by the city’s African American Reparations Advisory Committee, that has won approval.\u003c/p>\n\u003cfigure id=\"attachment_12005673\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12005673\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/Black-Art-Week-Cheryl-Derricotte2-800x1000.jpg\" alt=\"\" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/Black-Art-Week-Cheryl-Derricotte2-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/Black-Art-Week-Cheryl-Derricotte2-1020x1274.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/Black-Art-Week-Cheryl-Derricotte2-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/Black-Art-Week-Cheryl-Derricotte2-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/Black-Art-Week-Cheryl-Derricotte2-1639x2048.jpg 1639w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/Black-Art-Week-Cheryl-Derricotte2-1920x2399.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/Black-Art-Week-Cheryl-Derricotte2.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cheryl Derricotte’s “How I Crossed Over” will be featured in “The Remedy is Solidarity: A Global Multimedia Anthology on Reparations Volume 1.1 Too Much Like Right,” an exhibition that opened at Swim Gallery on Sept. 21. \u003ccite>(Courtesy ZEAL)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The Remedy is Solidarity\u003c/em> kicked off Saturday at the Yerba Buena Center for the Arts with Ward’s film and a panel discussion moderated by Eric McDonnell, chair of the city’s reparations committee. A group show featuring visual artists also opened at the Swim Gallery.\u003c/p>\n\u003cp>Today, ZEAL will host a reparations summit at Yerba Buena, including a panel titled “On the Issue of Compensation: Our Cultural Value in the Creative Economy.” The panel, moderated by Anshantia Oso, senior director of Media 2070 and a ZEAL co-founder, will feature Ward and Frimpong.\u003c/p>\n\u003cp>They will be joined on the panel by Monetta White, executive director and CEO of MoAD, and Otis R. Taylor Jr., KQED’s managing editor of the news and enterprise, and the editor of “The Road to Reparations,” the organization’s project chronicling the reparations effort in California.\u003c/p>\n\u003cp>\u003cem>The Remedy is Solidarity’s \u003c/em>programming includes collages created by youth from the Alice Griffith housing redevelopment project in the Bayview that will be projected in the Hunters Point Naval Shipyard.\u003c/p>\n\u003cp>The project will close on Oct. 20 with a healing day at Adam Rogers Park in the Bayview. The park is named after Ward’s great-uncle, who was referred to as the Mayor of Bayview by some residents. Dr. Cheryl Grills, a member of the California Reparations Task Force, will lead the conversation in the context of the film \u003cem>Pathologizing the Black Family\u003c/em>.\u003c/p>\n\u003cp>In Ward’s household, as well as other Black homes in the city, “too much like right” was a common expression, she said. It refers to the most logical or obvious course of action — like an opportunity to address or repair harm — not taken. The koan inspired the project’s title, which Ward offered as both an invitation and a challenge to San Francisco.\u003c/p>\n\u003cp>“Why wouldn’t we want a better version of our community? Will San Francisco do what is right or would that be too much like right?” she said.\u003c/p>\n\u003cp>\u003cem>For more information on “The Remedy is Solidarity: A Global Multimedia Anthology on Reparations Volume 1.1: Too Much Like Right,” visit \u003ca href=\"http://TheRemedyisSolidarity.com\">TheRemedyisSolidarity.com\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Auburn University football fans felt pretty good going into a home game against UC Berkeley this month. After all, Cal — an afterthought in the \u003ca href=\"https://www.kqed.org/forum/2010101893987/what-happens-to-cal-and-stanford-as-the-pac-12-collapses\">power conference realignment that blew up the Pac-12\u003c/a> and rocked college athletics — was traveling to the heart of the Southeastern Conference, where fans say “it just means more.”\u003c/p>\n\u003cp>Unfortunately for the Tigers faithful, they seemed to have poked the wrong bear: X’s “Calgorithm.”\u003c/p>\n\u003cp>College football smack talk is nothing new; many schools have a coalition of fan accounts that post memes, scores and predictions ahead of Saturday games. But the posts coming out of \u003ca href=\"https://writeforcalifornia.com/p/flowers-to-cal-twitter-a-community\">Cal Twitter\u003c/a>, as the community on the social media platform now called X is known, have quickly garnered national attention amid the Golden Bears’ hot start.\u003c/p>\n\u003cp>Before the teams’ Sept. 7 matchup, Auburn and Cal fans jabbed back and forth on social media, with some pro-Auburn posts remarking that Cal wasn’t likely to have a big group of supporters traveling to the game. They were “likely too busy thinking of a new woke topic that hurts their feels to travel to Alabama,” one X user \u003ca href=\"https://x.com/spanx_ftw/status/1831051179801051325\">said\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But Cal pulled off an upset 21-14 win at Jordan-Hare Stadium — now “property of antifa,” as \u003ca href=\"https://x.com/terencelau/status/1832882511665308062\">one meme declared\u003c/a> — where the stands seemed to have a small but mighty \u003ca href=\"https://x.com/avinashkunnath/status/1832531739203285018\">blue and gold\u003c/a> contingency. Cal Twitter responded, leaning into the “woke” stereotypes about Berkeley.\u003c/p>\n\u003cp>“The reputation that Cal has as a fairly left leaning progressive institution since a long time ago — people try to use it against us, especially in the South,” said Mike Davie, known as “\u003ca href=\"https://x.com/linusalf\">Mike the Hot Dog Mayor\u003c/a>” on X.\u003c/p>\n\u003cp>“We kind of flipped the script on that, like, ‘That’s right, and we’re coming armed with pronouns and woke flags.’”\u003c/p>\n\u003cp>After the game, \u003ca href=\"https://x.com/golDonbear/status/1832555206569292233\">a meme\u003c/a> showing a Democratic-winning election map overlaid with images of Kamala Harris, a rainbow, players including quarterback Fernando Mendoza, and mascot Oski the bear circulated within Cal’s community of “burner” accounts on X. “You just lost to the woke agenda,” it declared.\u003c/p>\n\u003cp>https://twitter.com/golDonbear/status/1832555206569292233\u003c/p>\n\u003cp>More memes started flowing, riffing on jokes about Cal students’ reputations for holding far-left and even communist beliefs.\u003c/p>\n\u003cp>“Pretty quickly it went from just like small California or Alabama stereotypes to just full on ‘We’re going to make fun of you for being quote-unquote “out of touch,” and then at the same time, we’re going to make fun of ourselves a little bit for for going a little too far into the woke ideology,’” said the person behind the X account “\u003ca href=\"https://x.com/wokemobfootball\">Liberal Calgorithm\u003c/a>,” who uses the handle @wokemobfootball to keep posts separate from work and personal life and did not want to be identified. “I think by the time we had won, all hell had broken loose, and the ‘\u003ca href=\"https://x.com/terencelau/status/1832882511665308062\">Antifa Stadium\u003c/a>’ [meme] had been dropped.”\u003c/p>\n\u003cp>Now, Bears fans are focused on another road trip to unfamiliar territory ahead of Saturday afternoon’s game at Florida State. The memes have included AI-generated photos of FSU fans \u003ca href=\"https://x.com/CAL_SPORTS_/status/1835839235112481092\">cheering while holding rainbow Pride flags\u003c/a> at Tallahassee’s Doak Campbell Stadium — make that \u003ca href=\"https://x.com/AdmiralBear01/status/1836992053126836530\">“Woke” Campbell Stadium\u003c/a> — and promoting \u003ca href=\"https://x.com/CAL_SPORTS_/status/1836265389145362774\">spirit game themes\u003c/a> like “pronoun awareness” and “pride celebration.”\u003c/p>\n\u003cp>https://twitter.com/HaasOfOtt/status/1835902311018770551\u003c/p>\n\u003cp>Cal has had a surprisingly strong season so far, going 3-0 ahead of its \u003ca href=\"https://www.kqed.org/news/11959989/stanford-uc-berkeley-will-join-the-atlantic-coast-conference-next-year\">Atlantic Coast Conference debut\u003c/a>, while FSU, a preseason top-10 team, is 0-3.\u003c/p>\n\u003cp>On X, the Bears have been even more dominant. “Never seen a fanbase so organized and so locked in on trolling their opponents,” one college football fan from Iowa \u003ca href=\"https://x.com/ZSteins_/status/1836159356607344910\">posted\u003c/a>. “Hand Cal the natty, they’ve earned it.”\u003c/p>\n\u003cp>While Cal’s presence in the football Twittersphere has exploded recently, the “burner community,” as Davie refers to them, has been around for years, posting memes and interacting online with one another and with the separate “\u003ca href=\"https://writeforcalifornia.com/\">Write for California\u003c/a>” Substack, which says it posts content by, for, and about the Golden Bears.\u003c/p>\n\u003cp>One of the burners’ first coordinated meme campaigns came last year when the football team hired former interim head coach Jake Spavital to be the new offensive coordinator after the 2022 season.\u003c/p>\n\u003cp>“He was very public that he’s going to target offensive linemen, [also known as] hogs,” Davie said. The meme on many burner accounts became centered on the team needing more offensive linemen for Spavital, or #hogs4spav, \u003ca href=\"https://www.dailycal.org/sports/msports/football/hogs4spav-behind-cal-football-s-twitter-contingent/article_0b9b5994-7596-11ef-ac77-67c7e4b44f41.html\">the Daily Cal\u003c/a> reported.\u003c/p>\n\u003cp>Lots of burners have been around since then, but even more have joined the ranks in the past few weeks.\u003c/p>\n\u003cp>The person behind the @wokemobfootball account grew up as a Cal fan and has attended a few games a year since college, but she said she didn’t end up in the Calgorithm until this season after “Cal tweets started creeping up on my main Twitter page.”\u003c/p>\n\u003cp>https://twitter.com/wokemobfootball/status/1835698640113029631\u003c/p>\n\u003cp>To the outside world, many of the burners are anonymous, but @wokemobfootball said they have group chats where they workshop memes, quote tweet and comment on each other’s content actively, and even meet up IRL.\u003c/p>\n\u003cp>Davie said he started going to “Write for California” tailgates and met other burners there.\u003c/p>\n\u003cp>“That becoming the burner tailgate is something that just happened this year,” he said.\u003c/p>\n\u003cp>The team has even gotten in on the action, he said. Team staffers Marshall Cherrington and Benji Palu have dropped by one of their tailgates, and the quarterback, Mendoza, appeared for a post-game interview wearing a T-shirt from a line started by one of the burners.\u003c/p>\n\u003cp>One player’s dad even said he thought the memes about his son were hilarious.\u003c/p>\n\u003cp>Davie said being connected to the wider community helps make sure that burners are kept in check when they post edgier jokes.\u003c/p>\n\u003cp>[aside postID=news_11959989 hero='https://cdn.kqed.org/wp-content/uploads/sites/10/2023/09/GettyImages-1443354055-1020x701.jpg']\u003c/p>\n\u003cp>Many of the accounts meme-ing about diversity, equity and inclusion (DEI) initiatives and communist ideology are also interspersed with left-leaning political content — links to Kamala Harris’s campaign website, for example, and a repost of the Miami Heat denouncing disproved claims about Haitian immigrants after \u003ca href=\"https://www.kqed.org/news/12004928/are-journalists-too-timid-in-holding-trump-and-harris-accountable\">former President Donald Trump falsely said\u003c/a> during a Sept. 10 debate that they were eating pets in Ohio.\u003c/p>\n\u003cp>“I think one of the best ways that we have of ensuring that we toe the line is that we do have a very diverse group of people in our community who all have very wildly different experiences and can kind of jump in,” @wokemobfootball said. “What we aim not to do is punch down on people, whether they’re people of color or gay or trans — the point of the joke is mostly specifically to make fun of the other person’s ideology.”\u003c/p>\n\u003cp>While the torrent of posts threatening to bring communist football and California’s woke agenda doesn’t seem likely to let up anytime soon, Davie said at the end of the day, it’s all for the love of the game.\u003c/p>\n\u003cp>“If this whole thing was for a Cal [versus] Florida State game in Berkeley this Saturday, we would welcome Florida State fans,” he said. “’Hey, have a beer, have a shot of Malört, we have a massive food spread and enjoy yourselves.’ We’re good people here.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "From ‘property of antifa’ to ‘the woke agenda,’ memes leaning into the UC Berkeley stereotype have gone viral thanks to the ‘Calgorithm.’",
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"title": "‘Woke’ Cal Twitter Is Taking Over College Football. Meet Its Extremely Online Posters | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Auburn University football fans felt pretty good going into a home game against UC Berkeley this month. After all, Cal — an afterthought in the \u003ca href=\"https://www.kqed.org/forum/2010101893987/what-happens-to-cal-and-stanford-as-the-pac-12-collapses\">power conference realignment that blew up the Pac-12\u003c/a> and rocked college athletics — was traveling to the heart of the Southeastern Conference, where fans say “it just means more.”\u003c/p>\n\u003cp>Unfortunately for the Tigers faithful, they seemed to have poked the wrong bear: X’s “Calgorithm.”\u003c/p>\n\u003cp>College football smack talk is nothing new; many schools have a coalition of fan accounts that post memes, scores and predictions ahead of Saturday games. But the posts coming out of \u003ca href=\"https://writeforcalifornia.com/p/flowers-to-cal-twitter-a-community\">Cal Twitter\u003c/a>, as the community on the social media platform now called X is known, have quickly garnered national attention amid the Golden Bears’ hot start.\u003c/p>\n\u003cp>Before the teams’ Sept. 7 matchup, Auburn and Cal fans jabbed back and forth on social media, with some pro-Auburn posts remarking that Cal wasn’t likely to have a big group of supporters traveling to the game. They were “likely too busy thinking of a new woke topic that hurts their feels to travel to Alabama,” one X user \u003ca href=\"https://x.com/spanx_ftw/status/1831051179801051325\">said\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Cal pulled off an upset 21-14 win at Jordan-Hare Stadium — now “property of antifa,” as \u003ca href=\"https://x.com/terencelau/status/1832882511665308062\">one meme declared\u003c/a> — where the stands seemed to have a small but mighty \u003ca href=\"https://x.com/avinashkunnath/status/1832531739203285018\">blue and gold\u003c/a> contingency. Cal Twitter responded, leaning into the “woke” stereotypes about Berkeley.\u003c/p>\n\u003cp>“The reputation that Cal has as a fairly left leaning progressive institution since a long time ago — people try to use it against us, especially in the South,” said Mike Davie, known as “\u003ca href=\"https://x.com/linusalf\">Mike the Hot Dog Mayor\u003c/a>” on X.\u003c/p>\n\u003cp>“We kind of flipped the script on that, like, ‘That’s right, and we’re coming armed with pronouns and woke flags.’”\u003c/p>\n\u003cp>After the game, \u003ca href=\"https://x.com/golDonbear/status/1832555206569292233\">a meme\u003c/a> showing a Democratic-winning election map overlaid with images of Kamala Harris, a rainbow, players including quarterback Fernando Mendoza, and mascot Oski the bear circulated within Cal’s community of “burner” accounts on X. “You just lost to the woke agenda,” it declared.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>More memes started flowing, riffing on jokes about Cal students’ reputations for holding far-left and even communist beliefs.\u003c/p>\n\u003cp>“Pretty quickly it went from just like small California or Alabama stereotypes to just full on ‘We’re going to make fun of you for being quote-unquote “out of touch,” and then at the same time, we’re going to make fun of ourselves a little bit for for going a little too far into the woke ideology,’” said the person behind the X account “\u003ca href=\"https://x.com/wokemobfootball\">Liberal Calgorithm\u003c/a>,” who uses the handle @wokemobfootball to keep posts separate from work and personal life and did not want to be identified. “I think by the time we had won, all hell had broken loose, and the ‘\u003ca href=\"https://x.com/terencelau/status/1832882511665308062\">Antifa Stadium\u003c/a>’ [meme] had been dropped.”\u003c/p>\n\u003cp>Now, Bears fans are focused on another road trip to unfamiliar territory ahead of Saturday afternoon’s game at Florida State. The memes have included AI-generated photos of FSU fans \u003ca href=\"https://x.com/CAL_SPORTS_/status/1835839235112481092\">cheering while holding rainbow Pride flags\u003c/a> at Tallahassee’s Doak Campbell Stadium — make that \u003ca href=\"https://x.com/AdmiralBear01/status/1836992053126836530\">“Woke” Campbell Stadium\u003c/a> — and promoting \u003ca href=\"https://x.com/CAL_SPORTS_/status/1836265389145362774\">spirit game themes\u003c/a> like “pronoun awareness” and “pride celebration.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Cal has had a surprisingly strong season so far, going 3-0 ahead of its \u003ca href=\"https://www.kqed.org/news/11959989/stanford-uc-berkeley-will-join-the-atlantic-coast-conference-next-year\">Atlantic Coast Conference debut\u003c/a>, while FSU, a preseason top-10 team, is 0-3.\u003c/p>\n\u003cp>On X, the Bears have been even more dominant. “Never seen a fanbase so organized and so locked in on trolling their opponents,” one college football fan from Iowa \u003ca href=\"https://x.com/ZSteins_/status/1836159356607344910\">posted\u003c/a>. “Hand Cal the natty, they’ve earned it.”\u003c/p>\n\u003cp>While Cal’s presence in the football Twittersphere has exploded recently, the “burner community,” as Davie refers to them, has been around for years, posting memes and interacting online with one another and with the separate “\u003ca href=\"https://writeforcalifornia.com/\">Write for California\u003c/a>” Substack, which says it posts content by, for, and about the Golden Bears.\u003c/p>\n\u003cp>One of the burners’ first coordinated meme campaigns came last year when the football team hired former interim head coach Jake Spavital to be the new offensive coordinator after the 2022 season.\u003c/p>\n\u003cp>“He was very public that he’s going to target offensive linemen, [also known as] hogs,” Davie said. The meme on many burner accounts became centered on the team needing more offensive linemen for Spavital, or #hogs4spav, \u003ca href=\"https://www.dailycal.org/sports/msports/football/hogs4spav-behind-cal-football-s-twitter-contingent/article_0b9b5994-7596-11ef-ac77-67c7e4b44f41.html\">the Daily Cal\u003c/a> reported.\u003c/p>\n\u003cp>Lots of burners have been around since then, but even more have joined the ranks in the past few weeks.\u003c/p>\n\u003cp>The person behind the @wokemobfootball account grew up as a Cal fan and has attended a few games a year since college, but she said she didn’t end up in the Calgorithm until this season after “Cal tweets started creeping up on my main Twitter page.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>To the outside world, many of the burners are anonymous, but @wokemobfootball said they have group chats where they workshop memes, quote tweet and comment on each other’s content actively, and even meet up IRL.\u003c/p>\n\u003cp>Davie said he started going to “Write for California” tailgates and met other burners there.\u003c/p>\n\u003cp>“That becoming the burner tailgate is something that just happened this year,” he said.\u003c/p>\n\u003cp>The team has even gotten in on the action, he said. Team staffers Marshall Cherrington and Benji Palu have dropped by one of their tailgates, and the quarterback, Mendoza, appeared for a post-game interview wearing a T-shirt from a line started by one of the burners.\u003c/p>\n\u003cp>One player’s dad even said he thought the memes about his son were hilarious.\u003c/p>\n\u003cp>Davie said being connected to the wider community helps make sure that burners are kept in check when they post edgier jokes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Many of the accounts meme-ing about diversity, equity and inclusion (DEI) initiatives and communist ideology are also interspersed with left-leaning political content — links to Kamala Harris’s campaign website, for example, and a repost of the Miami Heat denouncing disproved claims about Haitian immigrants after \u003ca href=\"https://www.kqed.org/news/12004928/are-journalists-too-timid-in-holding-trump-and-harris-accountable\">former President Donald Trump falsely said\u003c/a> during a Sept. 10 debate that they were eating pets in Ohio.\u003c/p>\n\u003cp>“I think one of the best ways that we have of ensuring that we toe the line is that we do have a very diverse group of people in our community who all have very wildly different experiences and can kind of jump in,” @wokemobfootball said. “What we aim not to do is punch down on people, whether they’re people of color or gay or trans — the point of the joke is mostly specifically to make fun of the other person’s ideology.”\u003c/p>\n\u003cp>While the torrent of posts threatening to bring communist football and California’s woke agenda doesn’t seem likely to let up anytime soon, Davie said at the end of the day, it’s all for the love of the game.\u003c/p>\n\u003cp>“If this whole thing was for a Cal [versus] Florida State game in Berkeley this Saturday, we would welcome Florida State fans,” he said. “’Hey, have a beer, have a shot of Malört, we have a massive food spread and enjoy yourselves.’ We’re good people here.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "How Music Inspires the Cheeses at This Petaluma Dairy",
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"content": "\u003cp>Soyoung Scanlan is one of California’s most celebrated cheesemakers, but growing up in South Korea, she never imagined this career. In fact, cheese wasn’t even part of her early life.\u003c/p>\n\u003cp>“I didn’t eat cheese until I was like 18 or 19 because cheese was not available,” she said. “From the U.S. Army, we could get processed cheese, like Kraft singles. Yellow plastic-looking things.”\u003c/p>\n\u003cp>She was born in Seoul in the late 1960s. Both her parents had experienced the Japanese occupation, the Korean War, and poverty. They connected over their shared love of classical music, Scanlan explained.\u003c/p>\n\u003cp>“The only place there were pianos was in the churches. So the way my father met my mom was he was playing Chopin, and my mom walked into the church, and they fell in love.”\u003c/p>\n\u003cp>Growing up, Scanlan said that their house had no refrigeration, but it did have a garden and lots of music. Her father was her first piano teacher.\u003c/p>\n\u003cp>“I read music first,” she said. “I learned how to read music before I learned the alphabet.”\u003c/p>\n\u003cfigure id=\"attachment_12004840\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12004840\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-49-KQED.jpg\" alt=\"An Asian woman sits playing a grand piano.\" width=\"2000\" height=\"1362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-49-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-49-KQED-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-49-KQED-1020x695.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-49-KQED-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-49-KQED-1536x1046.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-49-KQED-1920x1308.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Soyoung Scanlan plays her piano at her home in San Francisco on Sept. 5, 2024. Music has always been a part of Scanlan’s life. She named her dairy, Andante Dairy, after a musical tempo. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Scanlan studied chemical engineering, got a graduate degree in biotechnology, and worked in a cancer research center. She came to the U.S. to get a Ph.D. in molecular biology. Her first week in Boston, she went to the symphony, and ended up sitting next to the man who would become her husband.\u003c/p>\n\u003cp>The couple went on a trip to France, rented a farmhouse and took a fateful visit to a farmers market, where Scanlan met a cheesemonger who gave her a perfectly ripe piece of goat cheese from the hill town of \u003ca href=\"https://www.paxtonandwhitfield.co.uk/shop/buy-cheese-online/by-type/soft-cheese/rocamadour\">Rocamadour\u003c/a>.\u003c/p>\n\u003cp>“It was almost melting on my hand, like ice cream,” Scanlan said with a kind of reverence. She remembers the near-liquid center almost oozing out of the delicate rind. She basically had to drink it out of her hand.\u003c/p>\n\u003cp>“That was the first goat milk cheese in my life,” she said, “and it had so much flavor. I said, ‘I need to go to the place where it was made because I think I can actually taste the rocks and the air and something very dry. I can taste it.’ ”\u003cbr>\n[ad fullwidth]\u003cbr>\nThey spent a day driving to Rocamadour, where she said the rocks and the hills and the air did smell like that cheese she’d tasted.\u003c/p>\n\u003cp>The experience was an epiphany about the power of milk.\u003c/p>\n\u003cp>Scanlan said she read hundreds of books and articles about milk’s biophysical properties and about its history. In the late 1990s, now living in Northern California, she met other cheese obsessives and started making a cheese that used milk from both goats and cows. She found it fulfilled her scientifically curious mind more than life in a lab.\u003c/p>\n\u003cp>“But I had no clue if it was good or not,” she said.\u003c/p>\n\u003cfigure id=\"attachment_12004835\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12004835\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-13-KQED.jpg\" alt=\"Two women pour milk from a pale into a large metal vat.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-13-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-13-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-13-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-13-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-13-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-13-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Marcela Mejia (left) and Soyoung Scanlan pour goat milk into a cheese vat at Andante Dairy in Petaluma on Sept. 3, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She took a few pieces to Napa’s Oakville Grocery, the North Bay’s go-to gourmet store of the time. People there shared it with folks who worked at the revered restaurant, The French Laundry. Scanlan was invited to prepare a tasting for chef Thomas Keller.\u003c/p>\n\u003cp>It’s a day she said she won’t forget. She remembers shaking when she entered the busy kitchen, asking for the famous chef.\u003c/p>\n\u003cp>“All the prep tables were full of salmon and lamb.”\u003c/p>\n\u003cp>But when the chef announced it was time for a cheese tasting, staff cleared the tables and put out a tablecloth and formal serving plates and utensils. Everyone in the kitchen removed their dirty work aprons, put chef’s jackets on, and held their breaths while Scanlan presented Thomas Keller with a tiny box holding only six pieces of cheese.\u003c/p>\n\u003cp>[aside label=\"more California Foodways stories\" tag=\"california-foodways\"]\u003c/p>\n\u003cp>He tasted, smiled, and walked away from the table. Everyone else in the kitchen knew that meant he liked it.\u003c/p>\n\u003cp>“And they serve my cheese every day, ever since,” Scanlan said.\u003c/p>\n\u003cp>It was only after that day that Scanlan named her company \u003ca href=\"https://www.andantedairy.com/\">Andante Dairy\u003c/a> and decided to give each cheese a musical name. She explains that sometimes, an aspect of the cheese makes her think of the musical inspiration for its name. Sometimes, she has music on her mind, and she decides to create a compatible cheese.\u003c/p>\n\u003cp>One of her first was Nocturne, a blue-gray, ash-covered, truncated pyramid inspired by Chopin’s composition, meant to be played at dusk.\u003c/p>\n\u003cp>There’s Minuet, a triple-cream goat’s milk cheese, finished with a cow’s milk crème fraîche. Scanlan created it to be eaten while sipping champagne.\u003c/p>\n\u003cp>“I wanted to do something pretty and elegant, like the dance, \u003ci>minuet\u003c/i>.”\u003c/p>\n\u003cp>Her cheese called Piccolo is, appropriately, tiny. Even though Largo is made from the same curd, it’s four times the size and ages so long that it develops a deeper flavor.\u003c/p>\n\u003cp>Cheesemaking is hard on the body, and Scanlan knows she can’t do this forever, but she still has cheeses she wants to make inspired by music. Like Rubato, the tempo mark for forgotten time.\u003c/p>\n\u003cp>“You are free from any directions. There is a melody, but you can do whatever you want, whatever speed,” she said. And that metaphor appeals.\u003c/p>\n\u003cfigure id=\"attachment_12004838\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12004838\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-29-KQED.jpg\" alt=\"A hand shapes a block of cheese.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-29-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-29-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-29-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-29-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-29-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-29-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Soyoung Scanlan wraps up Metronome cheese, named after a device that produces rhythms to help musicians play in time, at Andante Dairy in Petaluma on Sept. 3, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She said she dreams of being able to just put aside the commercial time pressures of orders and budgets, forgetting time while she is making, and just helping the cheese become what it’s meant to be in its own time.\u003c/p>\n\u003cp>Given the huge role music plays in Scanlan’s life, it’s kind of surprising that there is no music playing in the Andante Dairy workroom on the day of our visit.\u003c/p>\n\u003cp>“I have very, very sensitive hearing,” Scanlan said. “Sometimes, when it is a little too much, it interferes in my brain.”\u003c/p>\n\u003cp>So the small workspace is quiet – no pumps, only the buzzing of a paddle spinning in a vat of milk. It’s sourced from the goats that graze on the rolling hills just out the door.\u003c/p>\n\u003cp>Scanlan monitored the temperature carefully and added milk by hand.\u003c/p>\n\u003cp>“I’m still fascinated by this whole process,” she said. “It’s like magic.”\u003c/p>\n\u003cp>Letting the milk in the vat agitate for a bit, Scanlan moved to a cheese press, where rounds of her newest cheese, Ballade, were squeezed overnight. She removed the 5-inch discs from their cheesecloth wrappers, flipped each round, and put them back in the mold for more, even pressing. She’ll finish the rind with pomegranate molasses inspired by the tree just outside the window.\u003c/p>\n\u003cp>Next, she turned to tall buckets filled with cow’s milk that she pasteurized the day before, for a slow curdling.\u003c/p>\n\u003cp>Scanlan is just over 5 feet tall. In her workroom, every waist-high bucket of milk is on wheels, and every work table is on casters so that the tiny cheesemaker can move them herself.\u003c/p>\n\u003cfigure id=\"attachment_12004843\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12004843\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-59-KQED.jpg\" alt=\"An Asian woman sits at a grand piano next to a window.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-59-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-59-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-59-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-59-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-59-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-59-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Soyoung Scanlan flips the pages of her piano books at her home in San Francisco on Sept. 5, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She scooped the slow-curdled Jersey cow’s milk into cheesecloth bags, nestled in a draining tray that looked like a trough, and it became clearer why Scanlan prefers a workspace with few distractions. Her sensitivities help her tune into the cheese. She said she feels the weight, the density of the curds when she scoops. She can smell the difference between goat and cow milk – she said if cow milk is cotton, goat milk would be Irish linen, a bit finer.\u003c/p>\n\u003cp>Of course, for someone with a highly trained ear, Scanlan pays attention to the sounds in the cheesemaking process.\u003c/p>\n\u003cp>“The sound tells you so much. The sound of curd falling into the bag, it actually tells you how much is solid in the milk.”\u003c/p>\n\u003cp>Scanlan said that when she’s working, the only music she needs is the constant drip of the whey draining out of cheesecloth.\u003c/p>\n\u003cp>“This is my temple. Yep,” she said. “And I guess cheesemaking, it is my prayer.”\u003c/p>\n\u003cp>\u003ci>This story is part of the series \u003c/i>\u003ca href=\"https://californiafoodways.com/\">\u003ci>California Foodways,\u003c/i>\u003c/a>\u003ci> about food, agriculture, and the people that make both possible in each of California’s 58 counties.\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Soyoung Scanlan of Andante Dairy is one of California's most celebrated cheesemakers. Born in South Korea, each of her cheeses is named for something musical, reflecting her background as a trained pianist.",
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"title": "How Music Inspires the Cheeses at This Petaluma Dairy | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Soyoung Scanlan is one of California’s most celebrated cheesemakers, but growing up in South Korea, she never imagined this career. In fact, cheese wasn’t even part of her early life.\u003c/p>\n\u003cp>“I didn’t eat cheese until I was like 18 or 19 because cheese was not available,” she said. “From the U.S. Army, we could get processed cheese, like Kraft singles. Yellow plastic-looking things.”\u003c/p>\n\u003cp>She was born in Seoul in the late 1960s. Both her parents had experienced the Japanese occupation, the Korean War, and poverty. They connected over their shared love of classical music, Scanlan explained.\u003c/p>\n\u003cp>“The only place there were pianos was in the churches. So the way my father met my mom was he was playing Chopin, and my mom walked into the church, and they fell in love.”\u003c/p>\n\u003cp>Growing up, Scanlan said that their house had no refrigeration, but it did have a garden and lots of music. Her father was her first piano teacher.\u003c/p>\n\u003cp>“I read music first,” she said. “I learned how to read music before I learned the alphabet.”\u003c/p>\n\u003cfigure id=\"attachment_12004840\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12004840\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-49-KQED.jpg\" alt=\"An Asian woman sits playing a grand piano.\" width=\"2000\" height=\"1362\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-49-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-49-KQED-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-49-KQED-1020x695.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-49-KQED-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-49-KQED-1536x1046.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-49-KQED-1920x1308.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Soyoung Scanlan plays her piano at her home in San Francisco on Sept. 5, 2024. Music has always been a part of Scanlan’s life. She named her dairy, Andante Dairy, after a musical tempo. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Scanlan studied chemical engineering, got a graduate degree in biotechnology, and worked in a cancer research center. She came to the U.S. to get a Ph.D. in molecular biology. Her first week in Boston, she went to the symphony, and ended up sitting next to the man who would become her husband.\u003c/p>\n\u003cp>The couple went on a trip to France, rented a farmhouse and took a fateful visit to a farmers market, where Scanlan met a cheesemonger who gave her a perfectly ripe piece of goat cheese from the hill town of \u003ca href=\"https://www.paxtonandwhitfield.co.uk/shop/buy-cheese-online/by-type/soft-cheese/rocamadour\">Rocamadour\u003c/a>.\u003c/p>\n\u003cp>“It was almost melting on my hand, like ice cream,” Scanlan said with a kind of reverence. She remembers the near-liquid center almost oozing out of the delicate rind. She basically had to drink it out of her hand.\u003c/p>\n\u003cp>“That was the first goat milk cheese in my life,” she said, “and it had so much flavor. I said, ‘I need to go to the place where it was made because I think I can actually taste the rocks and the air and something very dry. I can taste it.’ ”\u003cbr>\n\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cbr>\nThey spent a day driving to Rocamadour, where she said the rocks and the hills and the air did smell like that cheese she’d tasted.\u003c/p>\n\u003cp>The experience was an epiphany about the power of milk.\u003c/p>\n\u003cp>Scanlan said she read hundreds of books and articles about milk’s biophysical properties and about its history. In the late 1990s, now living in Northern California, she met other cheese obsessives and started making a cheese that used milk from both goats and cows. She found it fulfilled her scientifically curious mind more than life in a lab.\u003c/p>\n\u003cp>“But I had no clue if it was good or not,” she said.\u003c/p>\n\u003cfigure id=\"attachment_12004835\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12004835\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-13-KQED.jpg\" alt=\"Two women pour milk from a pale into a large metal vat.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-13-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-13-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-13-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-13-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-13-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-13-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Marcela Mejia (left) and Soyoung Scanlan pour goat milk into a cheese vat at Andante Dairy in Petaluma on Sept. 3, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She took a few pieces to Napa’s Oakville Grocery, the North Bay’s go-to gourmet store of the time. People there shared it with folks who worked at the revered restaurant, The French Laundry. Scanlan was invited to prepare a tasting for chef Thomas Keller.\u003c/p>\n\u003cp>It’s a day she said she won’t forget. She remembers shaking when she entered the busy kitchen, asking for the famous chef.\u003c/p>\n\u003cp>“All the prep tables were full of salmon and lamb.”\u003c/p>\n\u003cp>But when the chef announced it was time for a cheese tasting, staff cleared the tables and put out a tablecloth and formal serving plates and utensils. Everyone in the kitchen removed their dirty work aprons, put chef’s jackets on, and held their breaths while Scanlan presented Thomas Keller with a tiny box holding only six pieces of cheese.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He tasted, smiled, and walked away from the table. Everyone else in the kitchen knew that meant he liked it.\u003c/p>\n\u003cp>“And they serve my cheese every day, ever since,” Scanlan said.\u003c/p>\n\u003cp>It was only after that day that Scanlan named her company \u003ca href=\"https://www.andantedairy.com/\">Andante Dairy\u003c/a> and decided to give each cheese a musical name. She explains that sometimes, an aspect of the cheese makes her think of the musical inspiration for its name. Sometimes, she has music on her mind, and she decides to create a compatible cheese.\u003c/p>\n\u003cp>One of her first was Nocturne, a blue-gray, ash-covered, truncated pyramid inspired by Chopin’s composition, meant to be played at dusk.\u003c/p>\n\u003cp>There’s Minuet, a triple-cream goat’s milk cheese, finished with a cow’s milk crème fraîche. Scanlan created it to be eaten while sipping champagne.\u003c/p>\n\u003cp>“I wanted to do something pretty and elegant, like the dance, \u003ci>minuet\u003c/i>.”\u003c/p>\n\u003cp>Her cheese called Piccolo is, appropriately, tiny. Even though Largo is made from the same curd, it’s four times the size and ages so long that it develops a deeper flavor.\u003c/p>\n\u003cp>Cheesemaking is hard on the body, and Scanlan knows she can’t do this forever, but she still has cheeses she wants to make inspired by music. Like Rubato, the tempo mark for forgotten time.\u003c/p>\n\u003cp>“You are free from any directions. There is a melody, but you can do whatever you want, whatever speed,” she said. And that metaphor appeals.\u003c/p>\n\u003cfigure id=\"attachment_12004838\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12004838\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-29-KQED.jpg\" alt=\"A hand shapes a block of cheese.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-29-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-29-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-29-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-29-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-29-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-29-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Soyoung Scanlan wraps up Metronome cheese, named after a device that produces rhythms to help musicians play in time, at Andante Dairy in Petaluma on Sept. 3, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She said she dreams of being able to just put aside the commercial time pressures of orders and budgets, forgetting time while she is making, and just helping the cheese become what it’s meant to be in its own time.\u003c/p>\n\u003cp>Given the huge role music plays in Scanlan’s life, it’s kind of surprising that there is no music playing in the Andante Dairy workroom on the day of our visit.\u003c/p>\n\u003cp>“I have very, very sensitive hearing,” Scanlan said. “Sometimes, when it is a little too much, it interferes in my brain.”\u003c/p>\n\u003cp>So the small workspace is quiet – no pumps, only the buzzing of a paddle spinning in a vat of milk. It’s sourced from the goats that graze on the rolling hills just out the door.\u003c/p>\n\u003cp>Scanlan monitored the temperature carefully and added milk by hand.\u003c/p>\n\u003cp>“I’m still fascinated by this whole process,” she said. “It’s like magic.”\u003c/p>\n\u003cp>Letting the milk in the vat agitate for a bit, Scanlan moved to a cheese press, where rounds of her newest cheese, Ballade, were squeezed overnight. She removed the 5-inch discs from their cheesecloth wrappers, flipped each round, and put them back in the mold for more, even pressing. She’ll finish the rind with pomegranate molasses inspired by the tree just outside the window.\u003c/p>\n\u003cp>Next, she turned to tall buckets filled with cow’s milk that she pasteurized the day before, for a slow curdling.\u003c/p>\n\u003cp>Scanlan is just over 5 feet tall. In her workroom, every waist-high bucket of milk is on wheels, and every work table is on casters so that the tiny cheesemaker can move them herself.\u003c/p>\n\u003cfigure id=\"attachment_12004843\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12004843\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-59-KQED.jpg\" alt=\"An Asian woman sits at a grand piano next to a window.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-59-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-59-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-59-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-59-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-59-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/20240903_MUSICALCHEESEMAKER-59-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Soyoung Scanlan flips the pages of her piano books at her home in San Francisco on Sept. 5, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She scooped the slow-curdled Jersey cow’s milk into cheesecloth bags, nestled in a draining tray that looked like a trough, and it became clearer why Scanlan prefers a workspace with few distractions. Her sensitivities help her tune into the cheese. She said she feels the weight, the density of the curds when she scoops. She can smell the difference between goat and cow milk – she said if cow milk is cotton, goat milk would be Irish linen, a bit finer.\u003c/p>\n\u003cp>Of course, for someone with a highly trained ear, Scanlan pays attention to the sounds in the cheesemaking process.\u003c/p>\n\u003cp>“The sound tells you so much. The sound of curd falling into the bag, it actually tells you how much is solid in the milk.”\u003c/p>\n\u003cp>Scanlan said that when she’s working, the only music she needs is the constant drip of the whey draining out of cheesecloth.\u003c/p>\n\u003cp>“This is my temple. Yep,” she said. “And I guess cheesemaking, it is my prayer.”\u003c/p>\n\u003cp>\u003ci>This story is part of the series \u003c/i>\u003ca href=\"https://californiafoodways.com/\">\u003ci>California Foodways,\u003c/i>\u003c/a>\u003ci> about food, agriculture, and the people that make both possible in each of California’s 58 counties.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/sundaymusicdrop\">The Sunday Music Drop is a weekly radio series hosted by the KQED weekend news team.\u003c/a> In each segment, we feature a song from a local musician or band with an upcoming show and hear about what inspires their music.\u003c/em>\u003c/p>\n\u003cp>Deva Rani, an Oakland-based R&B and neo-soul artist, said she was introduced to playing piano and drums at a young age. Her style is based on soul music with a mellow tempo as well as her calm personality. As a child, she remembers visiting Lake Merritt in Oakland and being welcomed to play in the drum circles.\u003c/p>\n\u003cp>“Oakland brings something out of you that makes you want to express every version or every aspect of who you are in one person,” she said. “I think that growing up in Oakland has definitely shaped who I am.”\u003c/p>\n\u003cp>The song “darling” is about being in the honeymoon phase of a new relationship and wanting to know more about a partner. She says the song is light-hearted and upbeat, which is a change for her since she is used to making more mellow songs.\u003c/p>\n\u003cp>“I created this intro that fades in and out so it kind of feels like you’re coming in and out of a dream,” she said. “It is just a very lovey dovey song, and I hope that [people] can take that away from it and share it with their partner.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Rani, who is of South Asian descent, said she feels like a lot of people with her background are not encouraged to be in the arts. She said while many often face pressure from family to take other paths, she was lucky to be raised in an environment where the arts were accepted, which ultimately led her to pursue R&B music.\u003c/p>\n\u003cp>“I want to pay homage to the people that came before me because it’s not something that my ancestors invented,” said Rani. “I need to recognize the R&B artists that came before me and it’s really important to recognize that it is a Black genre and that I am stepping into a space that is not mine.”\u003c/p>\n\u003cp>She draws inspiration from artists like Aretha Franklin and Etta James and hopes her music can inspire others in the future.\u003c/p>\n\u003cp>“I enjoy listening to my music so much, I want to be able to share that joy with other people and get to add to the genre and give back to the genre that’s given so much to me, you know?” said Rani.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Deva Rani will be performing at \u003ca href=\"https://lu.ma/qphivkhe\">Red Heron Studios\u003c/a> in Oakland on Thursday, Sept. 19th at 7:30 p.m., so you can go hear her live.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/sundaymusicdrop\">The Sunday Music Drop is a weekly radio series hosted by the KQED weekend news team.\u003c/a> In each segment, we feature a song from a local musician or band with an upcoming show and hear about what inspires their music.\u003c/em>\u003c/p>\n\u003cp>Deva Rani, an Oakland-based R&B and neo-soul artist, said she was introduced to playing piano and drums at a young age. Her style is based on soul music with a mellow tempo as well as her calm personality. As a child, she remembers visiting Lake Merritt in Oakland and being welcomed to play in the drum circles.\u003c/p>\n\u003cp>“Oakland brings something out of you that makes you want to express every version or every aspect of who you are in one person,” she said. “I think that growing up in Oakland has definitely shaped who I am.”\u003c/p>\n\u003cp>The song “darling” is about being in the honeymoon phase of a new relationship and wanting to know more about a partner. She says the song is light-hearted and upbeat, which is a change for her since she is used to making more mellow songs.\u003c/p>\n\u003cp>“I created this intro that fades in and out so it kind of feels like you’re coming in and out of a dream,” she said. “It is just a very lovey dovey song, and I hope that [people] can take that away from it and share it with their partner.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Rani, who is of South Asian descent, said she feels like a lot of people with her background are not encouraged to be in the arts. She said while many often face pressure from family to take other paths, she was lucky to be raised in an environment where the arts were accepted, which ultimately led her to pursue R&B music.\u003c/p>\n\u003cp>“I want to pay homage to the people that came before me because it’s not something that my ancestors invented,” said Rani. “I need to recognize the R&B artists that came before me and it’s really important to recognize that it is a Black genre and that I am stepping into a space that is not mine.”\u003c/p>\n\u003cp>She draws inspiration from artists like Aretha Franklin and Etta James and hopes her music can inspire others in the future.\u003c/p>\n\u003cp>“I enjoy listening to my music so much, I want to be able to share that joy with other people and get to add to the genre and give back to the genre that’s given so much to me, you know?” said Rani.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Deva Rani will be performing at \u003ca href=\"https://lu.ma/qphivkhe\">Red Heron Studios\u003c/a> in Oakland on Thursday, Sept. 19th at 7:30 p.m., so you can go hear her live.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Most of us expect documentaries to deliver facts about the past or present, even if the truth is delivered with a point of view. Most of us expect documentary filmmakers to be transparent about their source material, like videos, photos and newspapers.\u003c/p>\n\u003cp>Before generative AI came on the scene, it was fairly obvious when a documentary delivered a re-creation of something that happened or might have happened. Post-generative AI, nothing is necessarily obvious, and as the technology improves, it’s near-certain that fake bits in documentaries will proliferate.\u003c/p>\n\u003cp>Archival producers, who play a crucial role in documentary filmmaking, warn there’s a clear and present danger that the fakery will muddy the historical record irrevocably. On Friday, the \u003ca href=\"https://www.archivalproducersalliance.com/\">Archival Producers Alliance\u003c/a> is releasing a set of “best practices” to keep generative AI from destroying the integrity and authenticity of documentaries.\u003c/p>\n\u003cp>The collective of more than 400 people from 25 countries specializes in archives. Many of them help filmmakers put together stories, and some are documentary filmmakers themselves.\u003c/p>\n\u003cp>Alliance co-director Rachel Antell of Berkeley said she hopes the new, voluntary guidelines will get Hollywood and Silicon Valley talking in a serious way about the integrity of history that belongs to all of us.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The two things we always struggle with are not enough money and not enough time, and especially not enough money. AI comes in and seemingly offers solutions to both those existential issues, but really, it doesn’t. I think the question that we always need to be asking is ‘At what cost?’” said Antell, who has worked in documentary film for about 25 years, producing work that’s run on HBO, Netflix and Hulu.\u003c/p>\n\u003cp>Antell and others in the Alliance say they already see documentaries using AI-generated voices of dead people, often to read something they wrote but never recorded. Consider the 2021 documentary \u003ca href=\"https://www.google.com/search?client=safari&sca_esv=7301607fefdb0770&rls=en&q=Anthony+Bourdain+doc+Roadrunner&tbm=vid&source=lnms&fbs=AEQNm0Aa4sjWe7Rqy32pFwRj0UkWd8nbOJfsBGGB5IQQO6L3J_86uWOeqwdnV0yaSF-x2jrJh7Dt5wV71ckxEPe_0GQyc61_Jkg5ZI9z4zNW20fWd2tUn_HrTAULuFP7u75dytEkiWC15l7moHi_nYsx6bYU7gYxjHncfuRcjwgxByi-2dbm91Px5JKg1Jotj8vdUSEMemJ8XA6RB42LqHkYBEFrl5n20w&sa=X&ved=2ahUKEwjDsYLcxbuIAxX3D1kFHVl9BMsQ0pQJegQIExAB&biw=526&bih=680&dpr=2#fpstate=ive&vld=cid:cec62118,vid:ihEEjwRlghQ,st:0\">Roadrunner\u003c/a>, featuring an AI-generated Anthony Bourdain reading his email without disclosing it to viewers. “We can have a documentary-ethics panel about it later,” the filmmaker Morgan Neville told the\u003cem> \u003ca href=\"https://www.newyorker.com/culture/annals-of-gastronomy/the-haunting-afterlife-of-anthony-bourdain\" target=\"_blank\" rel=\"noopener\">New Yorker\u003c/a>\u003c/em>, prompting Bourdain’s second wife, Ottavia Busia-Bourdain, to \u003ca href=\"https://x.com/OttaviaBourdain/status/1415889455005716485?s=20\" target=\"_blank\" rel=\"noopener\">tweet\u003c/a> at the time, “I certainly was NOT the one who said Tony would have been cool with that.”\u003c/p>\n\u003cp>Documentaries have long used recreations or animations to cinematically evoke historical people, places or things. However, a number of people in the industry cringed when OpenAI introduced its video generation model Sora with clips, including “Historical Footage” of a \u003ca href=\"https://www.youtube.com/watch?v=luFoA1Qg5qw\">California Gold Rush Era town\u003c/a>.\u003c/p>\n\u003cp>It looks like a blurry, color drone shot of a Hollywood set for a Western town, inexplicably free of women and children, or any non-white people, sitting alongside a brook free of garbage and gold mining pollution common in the mid-19th century. Such a clip might add a vaguely evocative touch to a documentary, but this AI-generated vision veers quite far from what an actual California Gold Rush town would look like.\u003c/p>\n\u003cp>“Some things that are legal are not necessarily ethical,” said Alliance Co-Director Stephanie Jenkins, a documentary and archival producer in Hudson, New York, who’s primarily worked on historical documentaries for PBS, as well as the New York Times series Op-Docs and WNYC’s Radiolab. “Some things that are ethical aren’t necessarily legal. Part of our work is educating documentary filmmakers about where those lines are currently and how they may change.”\u003c/p>\n\u003cp>The guidelines are not concerned with minor alterations, like retouching, restoration, or playing with the resolution of individual items. Rather, the Alliance is concerned with alterations that could “mislead the audience” and introduce noise into the historical record.\u003c/p>\n\u003cp>The Alliance is also concerned with the potential for a massive data grab, similar to what’s happening to the field of journalism.\u003c/p>\n\u003cp>“Most of what archives have is not digitally accessible,” Antell said, noting that companies developing the large language models are “going to the archives and saying, ‘We’ll digitize your material for free in exchange for being able to scrape it.’ It’s an immediate gain for the archives, which are mainly small and struggling for their survival. But it’s very shortsighted. It’s a Faustian bargain. Their metadata, that’s much more valuable than the actual material, and so, their long-term ability to survive is really compromised.”\u003c/p>\n\u003cp>[aside label='Related Coverage' tag='ai']\u003c/p>\n\u003cp>Others are less concerned about generative AI’s incursion into archival materials. “I’ve found that sometimes, the gatekeepers of archival collections protect their domain of archival material so tightly that they forget that the goal is the public \u003ci>see \u003c/i>the footage or images, that it is re-surfaced as often as possible and discussed; that it is \u003ci>accessible,” \u003c/i>Oakland producer Charlotte Buchen Khadra said. “Perhaps AI can help make various archives easier to search, for example. I’m hopeful.”\u003c/p>\n\u003cp>The Alliance is not calling for documentary filmmakers to stop using generative AI altogether. They say there are plenty of examples of beneficial uses, like in the HBO doc \u003ca href=\"https://www.youtube.com/watch?v=_2KMm49B6pE\">Welcome to Chechnya\u003c/a>, which overlaid the faces of volunteers on top of people facing anti-LGBTQ persecution in Russia to protect them from identification.\u003c/p>\n\u003cp>Primarily, the Alliance guidelines beg for transparency. That message is being received with open arms by many old-timers in the field.\u003c/p>\n\u003cp>“My students have said it is a wonderfully economical way to deal with the expense of animation, and assuming that the prompts are accurate, which is a big if, it can be very helpful,” wrote June Cross, at Columbia University’s Graduate School of Journalism. “What troubles me about it is that people can take orphan photos or even copyrighted photos and make animation out of them, thereby stealing the work of the original creator and also making people think that this is an accurate representation…I know that a lot of people don’t give a darn about accuracy these days, but some of us still care about whether the picture shows a ‘58 or ‘64 Cadillac.”\u003c/p>\n\u003cp>“Documentary filmmakers don’t follow a single code of ethics,” wrote Stacey Woelfel, director of the Documentary Journalism Center at the Missouri School of Journalism. “So there’s no set of commandments to be handed down to tell filmmakers what they can and cannot do.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Given that, the Alliance plans to host a series of talks, \u003ca href=\"https://pointsnorthinstitute.org/ciff/forum-pitch/\">panels\u003c/a> and workshops in the coming months to spread the word about its findings and concerns. The group also plans to develop a tool kit to provide filmmakers with things like AI crediting guidelines and a cue sheet, insider lingo for a detailed outline of everything in a program, including, in this instance, software versions, prompts used, and the like. Otherwise, Antell and Jenkins warn that public trust in documentaries will be lost forever.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Most of us expect documentaries to deliver facts about the past or present, even if the truth is delivered with a point of view. Most of us expect documentary filmmakers to be transparent about their source material, like videos, photos and newspapers.\u003c/p>\n\u003cp>Before generative AI came on the scene, it was fairly obvious when a documentary delivered a re-creation of something that happened or might have happened. Post-generative AI, nothing is necessarily obvious, and as the technology improves, it’s near-certain that fake bits in documentaries will proliferate.\u003c/p>\n\u003cp>Archival producers, who play a crucial role in documentary filmmaking, warn there’s a clear and present danger that the fakery will muddy the historical record irrevocably. On Friday, the \u003ca href=\"https://www.archivalproducersalliance.com/\">Archival Producers Alliance\u003c/a> is releasing a set of “best practices” to keep generative AI from destroying the integrity and authenticity of documentaries.\u003c/p>\n\u003cp>The collective of more than 400 people from 25 countries specializes in archives. Many of them help filmmakers put together stories, and some are documentary filmmakers themselves.\u003c/p>\n\u003cp>Alliance co-director Rachel Antell of Berkeley said she hopes the new, voluntary guidelines will get Hollywood and Silicon Valley talking in a serious way about the integrity of history that belongs to all of us.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The two things we always struggle with are not enough money and not enough time, and especially not enough money. AI comes in and seemingly offers solutions to both those existential issues, but really, it doesn’t. I think the question that we always need to be asking is ‘At what cost?’” said Antell, who has worked in documentary film for about 25 years, producing work that’s run on HBO, Netflix and Hulu.\u003c/p>\n\u003cp>Antell and others in the Alliance say they already see documentaries using AI-generated voices of dead people, often to read something they wrote but never recorded. Consider the 2021 documentary \u003ca href=\"https://www.google.com/search?client=safari&sca_esv=7301607fefdb0770&rls=en&q=Anthony+Bourdain+doc+Roadrunner&tbm=vid&source=lnms&fbs=AEQNm0Aa4sjWe7Rqy32pFwRj0UkWd8nbOJfsBGGB5IQQO6L3J_86uWOeqwdnV0yaSF-x2jrJh7Dt5wV71ckxEPe_0GQyc61_Jkg5ZI9z4zNW20fWd2tUn_HrTAULuFP7u75dytEkiWC15l7moHi_nYsx6bYU7gYxjHncfuRcjwgxByi-2dbm91Px5JKg1Jotj8vdUSEMemJ8XA6RB42LqHkYBEFrl5n20w&sa=X&ved=2ahUKEwjDsYLcxbuIAxX3D1kFHVl9BMsQ0pQJegQIExAB&biw=526&bih=680&dpr=2#fpstate=ive&vld=cid:cec62118,vid:ihEEjwRlghQ,st:0\">Roadrunner\u003c/a>, featuring an AI-generated Anthony Bourdain reading his email without disclosing it to viewers. “We can have a documentary-ethics panel about it later,” the filmmaker Morgan Neville told the\u003cem> \u003ca href=\"https://www.newyorker.com/culture/annals-of-gastronomy/the-haunting-afterlife-of-anthony-bourdain\" target=\"_blank\" rel=\"noopener\">New Yorker\u003c/a>\u003c/em>, prompting Bourdain’s second wife, Ottavia Busia-Bourdain, to \u003ca href=\"https://x.com/OttaviaBourdain/status/1415889455005716485?s=20\" target=\"_blank\" rel=\"noopener\">tweet\u003c/a> at the time, “I certainly was NOT the one who said Tony would have been cool with that.”\u003c/p>\n\u003cp>Documentaries have long used recreations or animations to cinematically evoke historical people, places or things. However, a number of people in the industry cringed when OpenAI introduced its video generation model Sora with clips, including “Historical Footage” of a \u003ca href=\"https://www.youtube.com/watch?v=luFoA1Qg5qw\">California Gold Rush Era town\u003c/a>.\u003c/p>\n\u003cp>It looks like a blurry, color drone shot of a Hollywood set for a Western town, inexplicably free of women and children, or any non-white people, sitting alongside a brook free of garbage and gold mining pollution common in the mid-19th century. Such a clip might add a vaguely evocative touch to a documentary, but this AI-generated vision veers quite far from what an actual California Gold Rush town would look like.\u003c/p>\n\u003cp>“Some things that are legal are not necessarily ethical,” said Alliance Co-Director Stephanie Jenkins, a documentary and archival producer in Hudson, New York, who’s primarily worked on historical documentaries for PBS, as well as the New York Times series Op-Docs and WNYC’s Radiolab. “Some things that are ethical aren’t necessarily legal. Part of our work is educating documentary filmmakers about where those lines are currently and how they may change.”\u003c/p>\n\u003cp>The guidelines are not concerned with minor alterations, like retouching, restoration, or playing with the resolution of individual items. Rather, the Alliance is concerned with alterations that could “mislead the audience” and introduce noise into the historical record.\u003c/p>\n\u003cp>The Alliance is also concerned with the potential for a massive data grab, similar to what’s happening to the field of journalism.\u003c/p>\n\u003cp>“Most of what archives have is not digitally accessible,” Antell said, noting that companies developing the large language models are “going to the archives and saying, ‘We’ll digitize your material for free in exchange for being able to scrape it.’ It’s an immediate gain for the archives, which are mainly small and struggling for their survival. But it’s very shortsighted. It’s a Faustian bargain. Their metadata, that’s much more valuable than the actual material, and so, their long-term ability to survive is really compromised.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Others are less concerned about generative AI’s incursion into archival materials. “I’ve found that sometimes, the gatekeepers of archival collections protect their domain of archival material so tightly that they forget that the goal is the public \u003ci>see \u003c/i>the footage or images, that it is re-surfaced as often as possible and discussed; that it is \u003ci>accessible,” \u003c/i>Oakland producer Charlotte Buchen Khadra said. “Perhaps AI can help make various archives easier to search, for example. I’m hopeful.”\u003c/p>\n\u003cp>The Alliance is not calling for documentary filmmakers to stop using generative AI altogether. They say there are plenty of examples of beneficial uses, like in the HBO doc \u003ca href=\"https://www.youtube.com/watch?v=_2KMm49B6pE\">Welcome to Chechnya\u003c/a>, which overlaid the faces of volunteers on top of people facing anti-LGBTQ persecution in Russia to protect them from identification.\u003c/p>\n\u003cp>Primarily, the Alliance guidelines beg for transparency. That message is being received with open arms by many old-timers in the field.\u003c/p>\n\u003cp>“My students have said it is a wonderfully economical way to deal with the expense of animation, and assuming that the prompts are accurate, which is a big if, it can be very helpful,” wrote June Cross, at Columbia University’s Graduate School of Journalism. “What troubles me about it is that people can take orphan photos or even copyrighted photos and make animation out of them, thereby stealing the work of the original creator and also making people think that this is an accurate representation…I know that a lot of people don’t give a darn about accuracy these days, but some of us still care about whether the picture shows a ‘58 or ‘64 Cadillac.”\u003c/p>\n\u003cp>“Documentary filmmakers don’t follow a single code of ethics,” wrote Stacey Woelfel, director of the Documentary Journalism Center at the Missouri School of Journalism. “So there’s no set of commandments to be handed down to tell filmmakers what they can and cannot do.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Given that, the Alliance plans to host a series of talks, \u003ca href=\"https://pointsnorthinstitute.org/ciff/forum-pitch/\">panels\u003c/a> and workshops in the coming months to spread the word about its findings and concerns. The group also plans to develop a tool kit to provide filmmakers with things like AI crediting guidelines and a cue sheet, insider lingo for a detailed outline of everything in a program, including, in this instance, software versions, prompts used, and the like. Otherwise, Antell and Jenkins warn that public trust in documentaries will be lost forever.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Attorneys representing the \u003ca href=\"https://www.kqed.org/news/11945533/sf-based-internet-archive-is-fighting-a-ruling-that-could-change-the-future-of-digital-libraries\">Internet Archive\u003c/a> are determining their next steps to try to save the website’s free e-book lending program after an appeals court \u003ca href=\"https://www.kqed.org/news/12003100/internet-archive-loses-appeal-in-major-copyright-case\">recently upheld an earlier ruling\u003c/a> that it violated copyright laws.\u003c/p>\n\u003cp>Four major publishers sued the San Francisco-based Archive in 2020 when the website temporarily removed waitlists so more than one person at a time could borrow an e-book in its collection during the pandemic. The publishers — Hachette Book Group, HarperCollins Publishers, John Wiley & Sons and Penguin Random House — alleged that by doing so, the Archive illegally offered free e-books, including famous works by authors such as Sylvia Plath and Toni Morrison.\u003c/p>\n\u003cp>The Internet Archive later reinstated its waitlists and returned to its one-to-one book rental model, known as “controlled digital lending,” where a library owns a book, scans it digitally and loans the digital copy to one user at a time. The Archive owns physical copies of all of the books it lends digitally, stored in a warehouse in Richmond, California. Since the lawsuit started, however, it has had to remove more than 500,000 titles online.\u003c/p>\n\u003cp>Now that the court has sided with the publishers in the appeal case, the Internet Archive is determining what direction the fight might go next.\u003c/p>\n\u003cp>“We are reviewing the court’s opinion and will continue to defend the rights of libraries to own, lend, and preserve books,” Chris Freeland, director of library services at the Internet Archive, wrote online in response to the opinion.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The organization in June \u003ca href=\"https://www.change.org/p/let-readers-read-an-open-letter-to-the-publishers-in-hachette-v-internet-archive\">launched an online petition\u003c/a> to restore the hundreds of thousands of titles that were removed from its online collection. As of Monday, it had 110,000 signatures.\u003c/p>\n\u003cp>“It’s growing by the minute,” Freeland told KQED. “The public has spoken, and they are really upset that those books are no longer available for them to borrow.”\u003c/p>\n\u003cfigure id=\"attachment_12003843\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12003843\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/024_KQED_InternetArchiveWarehouse_03302023_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/024_KQED_InternetArchiveWarehouse_03302023_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/024_KQED_InternetArchiveWarehouse_03302023_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/024_KQED_InternetArchiveWarehouse_03302023_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/024_KQED_InternetArchiveWarehouse_03302023_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/024_KQED_InternetArchiveWarehouse_03302023_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/024_KQED_InternetArchiveWarehouse_03302023_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Brewster Kahle, the founder of the Internet Archive, closes a storage container with books from a county public library at an Internet Archive storage facility in Richmond on March 30, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for legal next steps, the Archive has two pathways it may choose to take, according to Cara Gagliano, senior staff attorney for the Electronic Frontier Foundation, which is representing the Archive in court. They can either petition for a rehearing, or petition the U.S. Supreme Court to hear the case, an even more intense process, since the court only takes a handful of cases per year.\u003c/p>\n\u003cp>“We think the Internet Archive really was serving a transformative purpose and doing what libraries have always done: Loaning out books that they owned to one person at a time,” Gagliano said. “Our take is that it’s absurd that the Internet Archive is allowed to mail me a physical book it owns. The physical publishers can’t stop that. But [the Archive] can’t give me the same content in digital form.”\u003c/p>\n\u003cp>[aside postID=news_12003100,news_11945533 label='Related Coverage']\u003c/p>\n\u003cp>The recent ruling will not disrupt the Internet Archive’s other major service, \u003ca href=\"https://web.archive.org/\">the Wayback Machine\u003c/a>, which saves webpages from across the internet over decades. However, groups representing librarians, authors and open-source advocates say that losing the e-book lending program is a blow to free educational access.\u003c/p>\n\u003cp>“We think this decision will result in a meaningful reduction in access to knowledge. This is sad news for many authors who have relied on Internet Archive’s Open Library for research and discovery, and for readers who have used Open Library to find authors’ works,” \u003ca href=\"https://www.authorsalliance.org/2024/09/05/hachette-v-internet-archive-update-second-circuit-court-of-appeals-rules-against-internet-archive/\">wrote the Authors Alliance in a blog post responding to the ruling\u003c/a>.\u003c/p>\n\u003cp>Marshall Breeding, a consultant on library technology who has been following the Hachette v. Internet Archive case, has a different take. E-book lending is already a widespread practice at public libraries across the country “in a big way already, and that has nothing to do with the Internet Archive,” Breeding said. “This is not the end of libraries.”\u003c/p>\n\u003cp>Publishers and authors agreeing with them meanwhile celebrated the ruling.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Today’s appellate decision upholds the rights of authors and publishers to license and be compensated for their books and other creative works and reminds us in no uncertain terms that infringement is both costly and antithetical to the public interest,” said Maria A. Pallante, President and CEO, Association of American Publishers, in a statement following the decision.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Attorneys representing the \u003ca href=\"https://www.kqed.org/news/11945533/sf-based-internet-archive-is-fighting-a-ruling-that-could-change-the-future-of-digital-libraries\">Internet Archive\u003c/a> are determining their next steps to try to save the website’s free e-book lending program after an appeals court \u003ca href=\"https://www.kqed.org/news/12003100/internet-archive-loses-appeal-in-major-copyright-case\">recently upheld an earlier ruling\u003c/a> that it violated copyright laws.\u003c/p>\n\u003cp>Four major publishers sued the San Francisco-based Archive in 2020 when the website temporarily removed waitlists so more than one person at a time could borrow an e-book in its collection during the pandemic. The publishers — Hachette Book Group, HarperCollins Publishers, John Wiley & Sons and Penguin Random House — alleged that by doing so, the Archive illegally offered free e-books, including famous works by authors such as Sylvia Plath and Toni Morrison.\u003c/p>\n\u003cp>The Internet Archive later reinstated its waitlists and returned to its one-to-one book rental model, known as “controlled digital lending,” where a library owns a book, scans it digitally and loans the digital copy to one user at a time. The Archive owns physical copies of all of the books it lends digitally, stored in a warehouse in Richmond, California. Since the lawsuit started, however, it has had to remove more than 500,000 titles online.\u003c/p>\n\u003cp>Now that the court has sided with the publishers in the appeal case, the Internet Archive is determining what direction the fight might go next.\u003c/p>\n\u003cp>“We are reviewing the court’s opinion and will continue to defend the rights of libraries to own, lend, and preserve books,” Chris Freeland, director of library services at the Internet Archive, wrote online in response to the opinion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The organization in June \u003ca href=\"https://www.change.org/p/let-readers-read-an-open-letter-to-the-publishers-in-hachette-v-internet-archive\">launched an online petition\u003c/a> to restore the hundreds of thousands of titles that were removed from its online collection. As of Monday, it had 110,000 signatures.\u003c/p>\n\u003cp>“It’s growing by the minute,” Freeland told KQED. “The public has spoken, and they are really upset that those books are no longer available for them to borrow.”\u003c/p>\n\u003cfigure id=\"attachment_12003843\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12003843\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/024_KQED_InternetArchiveWarehouse_03302023_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/024_KQED_InternetArchiveWarehouse_03302023_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/024_KQED_InternetArchiveWarehouse_03302023_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/024_KQED_InternetArchiveWarehouse_03302023_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/024_KQED_InternetArchiveWarehouse_03302023_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/024_KQED_InternetArchiveWarehouse_03302023_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/09/024_KQED_InternetArchiveWarehouse_03302023_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Brewster Kahle, the founder of the Internet Archive, closes a storage container with books from a county public library at an Internet Archive storage facility in Richmond on March 30, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for legal next steps, the Archive has two pathways it may choose to take, according to Cara Gagliano, senior staff attorney for the Electronic Frontier Foundation, which is representing the Archive in court. They can either petition for a rehearing, or petition the U.S. Supreme Court to hear the case, an even more intense process, since the court only takes a handful of cases per year.\u003c/p>\n\u003cp>“We think the Internet Archive really was serving a transformative purpose and doing what libraries have always done: Loaning out books that they owned to one person at a time,” Gagliano said. “Our take is that it’s absurd that the Internet Archive is allowed to mail me a physical book it owns. The physical publishers can’t stop that. But [the Archive] can’t give me the same content in digital form.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The recent ruling will not disrupt the Internet Archive’s other major service, \u003ca href=\"https://web.archive.org/\">the Wayback Machine\u003c/a>, which saves webpages from across the internet over decades. However, groups representing librarians, authors and open-source advocates say that losing the e-book lending program is a blow to free educational access.\u003c/p>\n\u003cp>“We think this decision will result in a meaningful reduction in access to knowledge. This is sad news for many authors who have relied on Internet Archive’s Open Library for research and discovery, and for readers who have used Open Library to find authors’ works,” \u003ca href=\"https://www.authorsalliance.org/2024/09/05/hachette-v-internet-archive-update-second-circuit-court-of-appeals-rules-against-internet-archive/\">wrote the Authors Alliance in a blog post responding to the ruling\u003c/a>.\u003c/p>\n\u003cp>Marshall Breeding, a consultant on library technology who has been following the Hachette v. Internet Archive case, has a different take. E-book lending is already a widespread practice at public libraries across the country “in a big way already, and that has nothing to do with the Internet Archive,” Breeding said. “This is not the end of libraries.”\u003c/p>\n\u003cp>Publishers and authors agreeing with them meanwhile celebrated the ruling.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Today’s appellate decision upholds the rights of authors and publishers to license and be compensated for their books and other creative works and reminds us in no uncertain terms that infringement is both costly and antithetical to the public interest,” said Maria A. Pallante, President and CEO, Association of American Publishers, in a statement following the decision.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Twenty-two years ago this month, Donato Cabrera felt like he hit a low point. Instead of conducting orchestras, he was selling CDs at the Metropolitan Opera gift shop in New York City.\u003c/p>\n\u003cp>He was in his early 30s with a bachelor’s degree and two advanced degrees, each focused on musical performance. Working in a music store was fine when he was a teenager living in Reno. It was not OK when he had expensive rent in Manhattan.\u003c/p>\n\u003cp>Cabrera, now 54, has served as music and artistic director of the California Symphony since 2013. Previously, he held conducting roles with the San Francisco Opera and San Francisco Symphony Orchestra, among many other places. But back in 2002, he wasn’t sure how he was going to exit the gift shop and get back to performing.\u003c/p>\n\u003cp>One day, a former graduate school classmate was visiting New York and happened to stop by the gift shop. She said she knew of a job that would be perfect for him with Music Academy of the West, a summer festival in Santa Barbara that was hiring an assistant conductor. He applied and landed the job.\u003c/p>\n\u003cp>While in Santa Barbara, he built a friendship with someone who worked for the San Francisco Opera, which had a job opening for an associate conductor. He landed that role and, in 2005, moved to San Francisco, where he has built an impressive resume. He’s led orchestras for symphonies, operas, ballets and music festivals throughout the United States and Latin America.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a recent interview, Cabrera talked about his career, how he incorporates his heritage into what has been a traditionally white space and the California Symphony’s 2024–25 season that begins Sept. 21.\u003c/p>\n\u003cp>Making a living from art, especially in a specialized field like classical music, is challenging and one Cabrera, who was born in Pasadena and was raised in Las Vegas and Reno, didn’t know was a possibility for him.\u003c/p>\n\u003cp>It was during visits to his paternal grandmother’s house in East L.A. that sparked his love of music. After family meals, she would sit down at her piano and play Mexican waltzes and military marches from memory. She learned to play that music by ear from her father, a musician who traveled all over Mexico performing traditional music.\u003c/p>\n\u003cp>Cabrera was around 8 years old when, on the drive home from one of those visits, he told his parents he wanted to learn piano. His maternal grandmother bought him one.\u003c/p>\n\u003cp>“It was really those two folks, both of my grandmothers — one with the musical inspiration, the cultural information that she shared with us — and the other grandmother, through financial assistance, who pushed me forward into this very strange career of being a conductor,” he said.\u003c/p>\n\u003cp>Cabrera’s story illustrates how culture is transmitted from one generation to the next, but not just by way of exposure or osmosis, as we often think. How many of us have purposely drowned out our parents’ music for more modern, cooler options?\u003c/p>\n\u003cp>Instead, Cabrera sought to embody music the way his grandmother did. Culture isn’t just meant to be consumed. It should also be internalized.\u003c/p>\n\u003cp>After finishing high school, he enrolled at the University of Nevada, Reno, with plans to become a high school music director. He thought learning to conduct an orchestra would help him become a better teacher, so he volunteered to lead the university’s student orchestra. The director gave him a chance since it was a small school, but a more prestigious program would have left the task to graduate students.\u003c/p>\n\u003cp>Cabrera’s professors at UNR pushed him to go to grad school to become a professional conductor. He earned a master’s degree at the University of Illinois Urbana-Champaign. Mentors from that school told him he needed to go to New York City, which led him to the conducting program at the Manhattan School of Music.\u003c/p>\n\u003cp>“I can’t tell you how thankful I am for these mentors of mine who encouraged me to shoot for the stars when I thought I was happy enough with where I was heading,” he said.\u003c/p>\n\u003cp>While in grad school, he recalled questioning whether he belonged in the world of classical music, an environment that felt elitist and rooted solely in European traditions. The idea that Latines don’t have a connection to orchestral music is false, Cabrera said. Mexican composers were creating operas in the early 1700s. Most major Latin American cities have a symphony, something Cabrera knows firsthand because he’s conducted in Mexico and Chile.\u003c/p>\n\u003cp>“What always kept me going was my love and passion for the music,” he said. “It was up to me to get over my preconceptions of my surroundings and my preconceptions of the people around me.”\u003c/p>\n\u003cfigure id=\"attachment_12002635\" class=\"wp-caption aligncenter\" style=\"max-width: 1331px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12002635\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/CABRERA_CALIFORNIASYMPH1_BYLINDSAYHALE-KQED.jpg\" alt=\"\" width=\"1331\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/CABRERA_CALIFORNIASYMPH1_BYLINDSAYHALE-KQED.jpg 1331w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/CABRERA_CALIFORNIASYMPH1_BYLINDSAYHALE-KQED-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/CABRERA_CALIFORNIASYMPH1_BYLINDSAYHALE-KQED-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/CABRERA_CALIFORNIASYMPH1_BYLINDSAYHALE-KQED-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/CABRERA_CALIFORNIASYMPH1_BYLINDSAYHALE-KQED-1022x1536.jpg 1022w\" sizes=\"(max-width: 1331px) 100vw, 1331px\">\u003cfigcaption class=\"wp-caption-text\">Donato Cabrera, a Mexican-American conductor, serves as the artistic and music director of the California Symphony. \u003ccite>(Lindsay Hale / Courtesy of Donato Cabrera )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>People might think that the bulk of what a conductor does is stand in front of the orchestra and wave their arms. That’s actually about 1% of the job, Cabrera said. Most of his work involves preparation, organization and planning.\u003c/p>\n\u003cp>“I’m really engaged in all aspects of what a nonprofit performing arts organization does,” he said. “As a music director, I choose all of the repertoire, all of the soloists. Each season has a narrative. The flow of the music that’s being performed, programmed over the course of many years — that’s on my shoulders.”\u003c/p>\n\u003cp>The Walnut Creek-based California Symphony will start the season with a program highlighting Ludwig van Beethoven’s Symphony No. 9, a masterpiece that was the composer’s final completed symphony. The rest of the season, which includes a total of five concerts and runs through June, will showcase the last works of Johannes Brahms, Wolfgang Amadeus Mozart and Pyotr Ilyich Tchaikovsky.\u003c/p>\n\u003cp>Cabrera spearheaded an effort to translate the California Symphony’s website into Spanish, bringing a measurable increase in Latine attendance. The symphony found that Latinos made up about 7% of households that attended performances from 2017 to 2024, almost doubling attendance during the seven years.\u003c/p>\n\u003cp>His goal, he said, is for anyone who walks into a performance to immediately feel welcome and have more knowledge and understanding of the music when they leave.\u003c/p>\n\u003cp>“So many people when they go to a concert, they want to hear what they know. They want to sing along to all the songs,” he said. “(Orchestral) music is for everyone, not just for people that grow up with it in their home or people of a certain strata. It’s there for everyone to enjoy.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story was reported for K Onda KQED, a monthly newsletter focused on the Bay Area’s Latinx community. \u003ca href=\"https://www.kqed.org/newsletters/k-onda\">Click here to subscribe\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Twenty-two years ago this month, Donato Cabrera felt like he hit a low point. Instead of conducting orchestras, he was selling CDs at the Metropolitan Opera gift shop in New York City.\u003c/p>\n\u003cp>He was in his early 30s with a bachelor’s degree and two advanced degrees, each focused on musical performance. Working in a music store was fine when he was a teenager living in Reno. It was not OK when he had expensive rent in Manhattan.\u003c/p>\n\u003cp>Cabrera, now 54, has served as music and artistic director of the California Symphony since 2013. Previously, he held conducting roles with the San Francisco Opera and San Francisco Symphony Orchestra, among many other places. But back in 2002, he wasn’t sure how he was going to exit the gift shop and get back to performing.\u003c/p>\n\u003cp>One day, a former graduate school classmate was visiting New York and happened to stop by the gift shop. She said she knew of a job that would be perfect for him with Music Academy of the West, a summer festival in Santa Barbara that was hiring an assistant conductor. He applied and landed the job.\u003c/p>\n\u003cp>While in Santa Barbara, he built a friendship with someone who worked for the San Francisco Opera, which had a job opening for an associate conductor. He landed that role and, in 2005, moved to San Francisco, where he has built an impressive resume. He’s led orchestras for symphonies, operas, ballets and music festivals throughout the United States and Latin America.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a recent interview, Cabrera talked about his career, how he incorporates his heritage into what has been a traditionally white space and the California Symphony’s 2024–25 season that begins Sept. 21.\u003c/p>\n\u003cp>Making a living from art, especially in a specialized field like classical music, is challenging and one Cabrera, who was born in Pasadena and was raised in Las Vegas and Reno, didn’t know was a possibility for him.\u003c/p>\n\u003cp>It was during visits to his paternal grandmother’s house in East L.A. that sparked his love of music. After family meals, she would sit down at her piano and play Mexican waltzes and military marches from memory. She learned to play that music by ear from her father, a musician who traveled all over Mexico performing traditional music.\u003c/p>\n\u003cp>Cabrera was around 8 years old when, on the drive home from one of those visits, he told his parents he wanted to learn piano. His maternal grandmother bought him one.\u003c/p>\n\u003cp>“It was really those two folks, both of my grandmothers — one with the musical inspiration, the cultural information that she shared with us — and the other grandmother, through financial assistance, who pushed me forward into this very strange career of being a conductor,” he said.\u003c/p>\n\u003cp>Cabrera’s story illustrates how culture is transmitted from one generation to the next, but not just by way of exposure or osmosis, as we often think. How many of us have purposely drowned out our parents’ music for more modern, cooler options?\u003c/p>\n\u003cp>Instead, Cabrera sought to embody music the way his grandmother did. Culture isn’t just meant to be consumed. It should also be internalized.\u003c/p>\n\u003cp>After finishing high school, he enrolled at the University of Nevada, Reno, with plans to become a high school music director. He thought learning to conduct an orchestra would help him become a better teacher, so he volunteered to lead the university’s student orchestra. The director gave him a chance since it was a small school, but a more prestigious program would have left the task to graduate students.\u003c/p>\n\u003cp>Cabrera’s professors at UNR pushed him to go to grad school to become a professional conductor. He earned a master’s degree at the University of Illinois Urbana-Champaign. Mentors from that school told him he needed to go to New York City, which led him to the conducting program at the Manhattan School of Music.\u003c/p>\n\u003cp>“I can’t tell you how thankful I am for these mentors of mine who encouraged me to shoot for the stars when I thought I was happy enough with where I was heading,” he said.\u003c/p>\n\u003cp>While in grad school, he recalled questioning whether he belonged in the world of classical music, an environment that felt elitist and rooted solely in European traditions. The idea that Latines don’t have a connection to orchestral music is false, Cabrera said. Mexican composers were creating operas in the early 1700s. Most major Latin American cities have a symphony, something Cabrera knows firsthand because he’s conducted in Mexico and Chile.\u003c/p>\n\u003cp>“What always kept me going was my love and passion for the music,” he said. “It was up to me to get over my preconceptions of my surroundings and my preconceptions of the people around me.”\u003c/p>\n\u003cfigure id=\"attachment_12002635\" class=\"wp-caption aligncenter\" style=\"max-width: 1331px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12002635\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/CABRERA_CALIFORNIASYMPH1_BYLINDSAYHALE-KQED.jpg\" alt=\"\" width=\"1331\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/CABRERA_CALIFORNIASYMPH1_BYLINDSAYHALE-KQED.jpg 1331w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/CABRERA_CALIFORNIASYMPH1_BYLINDSAYHALE-KQED-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/CABRERA_CALIFORNIASYMPH1_BYLINDSAYHALE-KQED-1020x1533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/CABRERA_CALIFORNIASYMPH1_BYLINDSAYHALE-KQED-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/08/CABRERA_CALIFORNIASYMPH1_BYLINDSAYHALE-KQED-1022x1536.jpg 1022w\" sizes=\"(max-width: 1331px) 100vw, 1331px\">\u003cfigcaption class=\"wp-caption-text\">Donato Cabrera, a Mexican-American conductor, serves as the artistic and music director of the California Symphony. \u003ccite>(Lindsay Hale / Courtesy of Donato Cabrera )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>People might think that the bulk of what a conductor does is stand in front of the orchestra and wave their arms. That’s actually about 1% of the job, Cabrera said. Most of his work involves preparation, organization and planning.\u003c/p>\n\u003cp>“I’m really engaged in all aspects of what a nonprofit performing arts organization does,” he said. “As a music director, I choose all of the repertoire, all of the soloists. Each season has a narrative. The flow of the music that’s being performed, programmed over the course of many years — that’s on my shoulders.”\u003c/p>\n\u003cp>The Walnut Creek-based California Symphony will start the season with a program highlighting Ludwig van Beethoven’s Symphony No. 9, a masterpiece that was the composer’s final completed symphony. The rest of the season, which includes a total of five concerts and runs through June, will showcase the last works of Johannes Brahms, Wolfgang Amadeus Mozart and Pyotr Ilyich Tchaikovsky.\u003c/p>\n\u003cp>Cabrera spearheaded an effort to translate the California Symphony’s website into Spanish, bringing a measurable increase in Latine attendance. The symphony found that Latinos made up about 7% of households that attended performances from 2017 to 2024, almost doubling attendance during the seven years.\u003c/p>\n\u003cp>His goal, he said, is for anyone who walks into a performance to immediately feel welcome and have more knowledge and understanding of the music when they leave.\u003c/p>\n\u003cp>“So many people when they go to a concert, they want to hear what they know. They want to sing along to all the songs,” he said. “(Orchestral) music is for everyone, not just for people that grow up with it in their home or people of a certain strata. It’s there for everyone to enjoy.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was reported for K Onda KQED, a monthly newsletter focused on the Bay Area’s Latinx community. \u003ca href=\"https://www.kqed.org/newsletters/k-onda\">Click here to subscribe\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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},
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"id": "fresh-air",
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"hidden-brain": {
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"airtime": "SUN 7pm-8pm",
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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