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"content": "\u003cp>Recently released test scores from some of California’s largest school districts — representing more than 1 million students — offer a preview of what’s likely to be steep drops in reading and math scores statewide in the wake of COVID.\u003c/p>\n\u003cp>The scores, which districts released individually at the request of EdSource, show sharp declines in all grade levels from 2019, before COVID forced the closure of most campuses to in-person learning, and 2022.\u003c/p>\n\u003cp>The California Department of Education has delayed releasing the full statewide results from the 2022 Smarter Balanced assessments, which are given annually to third through eighth graders and 11th graders to measure progress in English language arts and math. Under pressure from EdSource and other media outlets, the department recently agreed to release the scores by the end of October.\u003c/p>\n\u003cp>Meanwhile, EdSource has collected individual results from 10 large districts, including Los Angeles Unified, San Diego Unified, Fresno Unified, Lodi Unified, Long Beach Unified, Sacramento City Unified, Sweetwater Union High School District, San Ramon Valley Unified, Bakersfield City School District and Mt. Diablo Unified.\u003c/p>\n\u003cp>The results show consistent declines in all categories from 2019, but some variations among districts and subgroups:\u003c/p>\n\u003cul>\n\u003cli>Only 13% of students in Bakersfield met the state standard for math.\u003c/li>\n\u003cli>Reading scores in Los Angeles Unified dipped only slightly from 2019 to 2022. Still, only 41% of students in 2022 were proficient in reading.\u003c/li>\n\u003cli>Math scores in Fresno dropped by a third. In 2022, only 21% of students met the math standard.\u003c/li>\n\u003cli>Reading scores in Long Beach dropped 11 points, but declines were less steep in math. Math scores fell only 4 points.\u003c/li>\n\u003cli>In Mt. Diablo Unified, one of the few districts to break down the results by subgroup, Black, Latino, English learner, foster and unhoused students had far lower scores compared with 2019 than their white and Asian peers. For example, among English learners, 96% did not meet the math or reading standards.\u003c/li>\n\u003c/ul>\n\u003cp>By and large, scores show little change from 2021, the first year results were released after the state suspended the 2020 tests due to COVID. The 2021 test was optional for schools to administer, so results were limited and likely not an accurate reflection of students’ progress overall. Just under 25% of students took the test in 2021.\u003c/p>\n\u003cp>Lodi Unified saw scores in both math and reading improve from 2021, but they still lag significantly from 2019. That’s not a surprise, considering the difficulties teachers and students faced as they returned from distance learning, said Robert Sahli, assistant superintendent.[pullquote size=\"medium\" align=\"right\" citation=\"Lucrecia Santibañez, associate professor of education, UCLA\"]‘COVID was tough for everyone … But these scores signal that we need to make a personalized, intensive effort to help kids catch up and recoup what they’ve lost.’[/pullquote]“Last year, even though we were back in person, it was very challenging,” he said. “Teachers and support staff were working very hard to address learning loss while also responding to the social-emotional impacts on learning and socializing at school.”\u003c/p>\n\u003cp>Like other districts, Lodi has hired more tutors and teachers to help students catch up, beefed up summer school and after-school academic offerings, adopted new curricula and taken other steps to bring students to proficiency.\u003c/p>\n\u003cp>Heather Hough, director of Policy Analysis for California Education (PACE), said the preliminary results are actually better than she expected. Because 2022 is the first year all schools were required to give the test, she anticipated a significant drop from 2021.\u003c/p>\n\u003cp>“We thought 2022 would be a recovery year, but there was so much chaos — teacher shortages, students missing school — that it turned out to be another pandemic year,” she said. “If the scores are the same (as 2021), that’s actually encouraging.”\u003c/p>\n\u003cp>When the state releases the full data, Hough and her colleagues will pay close attention to differences among subgroups and statistical anomalies. If one district, for example, shows good results for students in special education, it would be worth researching what special steps that district has taken.\u003c/p>\n\u003cp>She also noted that some students thrived during remote learning, so she expects some good news, as well. In any case, schools and districts, as well as statewide policymakers, should use the scores to shape their allocation of resources in the coming years.\u003c/p>\n\u003cp>“When we get this data, we’ll finally be able to see how California is doing, what challenges we’re facing, and how we can best help students as we move forward,” she said.\u003c/p>\n\u003cp>In anticipation of the statewide release of test scores, the state last week launched a push for schools to help students regain skills they lost during COVID. The state is emphasizing accelerated learning, rather than remedial lessons, to speed up the process.\u003c/p>\n\u003cp>Steps like that could be the most useful result of the Smarter Balanced scores, said Lucrecia Santibañez, associate professor of education at UCLA. Closely analyzing the data and using it to forge a path forward — specifically for certain groups of students — is more useful than assigning blame, she said.\u003c/p>\n\u003cp>“COVID was tough for everyone, and it’s not worth putting blame on anyone. Everyone was trying the best they could. But these scores signal that we need to make a personalized, intensive effort to help kids catch up and recoup what they’ve lost,” she said.\u003c/p>\n\u003cp>Although the scores are disappointing, they can be an important tool to help schools pinpoint resources in the future, she said. The scores can provide a window into what exact content students have missed, where they’re lagging and which students need the most help, she said.\u003c/p>\n\u003cp>At Mt. Diablo Unified, Raymond Tjen-A-Looi, director of assessment, research and evaluation, told the school board that comparisons with 2021 aren’t helpful because education was still so disrupted due to COVID.\u003c/p>\n\u003cp>“We’re concentrating on using 2022 as a baseline, with the expectation that everything will stay the same going forward — testing will be in person, instruction will be in person,” he said. “So moving forward, hopefully, we’ll be able to do more comparisons and see how well we are making up for what we’ve lost.”\u003c/p>\n\u003cp>\u003ca href=\"https://edsource.org/2022/preliminary-glimpse-at-test-scores-shows-steep-declines-in-reading-math/679898?amp=1\">\u003cem>This story originally appeared in EdSource.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Recently released test scores from some of California’s largest school districts — representing more than 1 million students — offer a preview of what’s likely to be steep drops in reading and math scores statewide in the wake of COVID.\u003c/p>\n\u003cp>The scores, which districts released individually at the request of EdSource, show sharp declines in all grade levels from 2019, before COVID forced the closure of most campuses to in-person learning, and 2022.\u003c/p>\n\u003cp>The California Department of Education has delayed releasing the full statewide results from the 2022 Smarter Balanced assessments, which are given annually to third through eighth graders and 11th graders to measure progress in English language arts and math. Under pressure from EdSource and other media outlets, the department recently agreed to release the scores by the end of October.\u003c/p>\n\u003cp>Meanwhile, EdSource has collected individual results from 10 large districts, including Los Angeles Unified, San Diego Unified, Fresno Unified, Lodi Unified, Long Beach Unified, Sacramento City Unified, Sweetwater Union High School District, San Ramon Valley Unified, Bakersfield City School District and Mt. Diablo Unified.\u003c/p>\n\u003cp>The results show consistent declines in all categories from 2019, but some variations among districts and subgroups:\u003c/p>\n\u003cul>\n\u003cli>Only 13% of students in Bakersfield met the state standard for math.\u003c/li>\n\u003cli>Reading scores in Los Angeles Unified dipped only slightly from 2019 to 2022. Still, only 41% of students in 2022 were proficient in reading.\u003c/li>\n\u003cli>Math scores in Fresno dropped by a third. In 2022, only 21% of students met the math standard.\u003c/li>\n\u003cli>Reading scores in Long Beach dropped 11 points, but declines were less steep in math. Math scores fell only 4 points.\u003c/li>\n\u003cli>In Mt. Diablo Unified, one of the few districts to break down the results by subgroup, Black, Latino, English learner, foster and unhoused students had far lower scores compared with 2019 than their white and Asian peers. For example, among English learners, 96% did not meet the math or reading standards.\u003c/li>\n\u003c/ul>\n\u003cp>By and large, scores show little change from 2021, the first year results were released after the state suspended the 2020 tests due to COVID. The 2021 test was optional for schools to administer, so results were limited and likely not an accurate reflection of students’ progress overall. Just under 25% of students took the test in 2021.\u003c/p>\n\u003cp>Lodi Unified saw scores in both math and reading improve from 2021, but they still lag significantly from 2019. That’s not a surprise, considering the difficulties teachers and students faced as they returned from distance learning, said Robert Sahli, assistant superintendent.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Last year, even though we were back in person, it was very challenging,” he said. “Teachers and support staff were working very hard to address learning loss while also responding to the social-emotional impacts on learning and socializing at school.”\u003c/p>\n\u003cp>Like other districts, Lodi has hired more tutors and teachers to help students catch up, beefed up summer school and after-school academic offerings, adopted new curricula and taken other steps to bring students to proficiency.\u003c/p>\n\u003cp>Heather Hough, director of Policy Analysis for California Education (PACE), said the preliminary results are actually better than she expected. Because 2022 is the first year all schools were required to give the test, she anticipated a significant drop from 2021.\u003c/p>\n\u003cp>“We thought 2022 would be a recovery year, but there was so much chaos — teacher shortages, students missing school — that it turned out to be another pandemic year,” she said. “If the scores are the same (as 2021), that’s actually encouraging.”\u003c/p>\n\u003cp>When the state releases the full data, Hough and her colleagues will pay close attention to differences among subgroups and statistical anomalies. If one district, for example, shows good results for students in special education, it would be worth researching what special steps that district has taken.\u003c/p>\n\u003cp>She also noted that some students thrived during remote learning, so she expects some good news, as well. In any case, schools and districts, as well as statewide policymakers, should use the scores to shape their allocation of resources in the coming years.\u003c/p>\n\u003cp>“When we get this data, we’ll finally be able to see how California is doing, what challenges we’re facing, and how we can best help students as we move forward,” she said.\u003c/p>\n\u003cp>In anticipation of the statewide release of test scores, the state last week launched a push for schools to help students regain skills they lost during COVID. The state is emphasizing accelerated learning, rather than remedial lessons, to speed up the process.\u003c/p>\n\u003cp>Steps like that could be the most useful result of the Smarter Balanced scores, said Lucrecia Santibañez, associate professor of education at UCLA. Closely analyzing the data and using it to forge a path forward — specifically for certain groups of students — is more useful than assigning blame, she said.\u003c/p>\n\u003cp>“COVID was tough for everyone, and it’s not worth putting blame on anyone. Everyone was trying the best they could. But these scores signal that we need to make a personalized, intensive effort to help kids catch up and recoup what they’ve lost,” she said.\u003c/p>\n\u003cp>Although the scores are disappointing, they can be an important tool to help schools pinpoint resources in the future, she said. The scores can provide a window into what exact content students have missed, where they’re lagging and which students need the most help, she said.\u003c/p>\n\u003cp>At Mt. Diablo Unified, Raymond Tjen-A-Looi, director of assessment, research and evaluation, told the school board that comparisons with 2021 aren’t helpful because education was still so disrupted due to COVID.\u003c/p>\n\u003cp>“We’re concentrating on using 2022 as a baseline, with the expectation that everything will stay the same going forward — testing will be in person, instruction will be in person,” he said. “So moving forward, hopefully, we’ll be able to do more comparisons and see how well we are making up for what we’ve lost.”\u003c/p>\n\u003cp>\u003ca href=\"https://edsource.org/2022/preliminary-glimpse-at-test-scores-shows-steep-declines-in-reading-math/679898?amp=1\">\u003cem>This story originally appeared in EdSource.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s been clear to Richmond High School junior Angelee Montances that when it comes to arts and music education, all things are not created equal in Richmond.\u003c/p>\n\u003cp>“Communities like mine, Richmond High, where it’s predominantly brown kids, we don’t get the same opportunity as in like Hercules, which is, you know, predominantly Asian kids and white kids,” she said.\u003c/p>\n\u003cp>Montances is a senior who plays viola in the Richmond High orchestra. The East Bay public high school, along with Kennedy High, is located in the West Contra Costa Unified School District, and is made up of 1,511 students, of whom 85.4% are Latino.\u003c/p>\n\u003cp>“And, you know, it also sucks because I feel like parents, students and teachers have tried here in Richmond High and Kennedy High to get the funding that they have (at Hercules High),” Montances said. “But we don’t have the money, you know.”[aside postID=news_11927353 hero='https://ww2.kqed.org/app/uploads/sites/10/2022/09/artsed_prop28-1020x626.jpg']Many Richmond High families, including that of Montances, consider themselves working class.\u003c/p>\n\u003cp>“It’s really something you think about and not many people say, but it’s also a race thing. It’s a socioeconomic class thing, and it’s just an issue,” said Montances.\u003c/p>\n\u003cp>California education law calls for all public schools to offer comprehensive arts education, but in reality, very few of them do. This November, voters will decide whether or not to guarantee arts funding in public schools, including charters.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/voterguide/proposition-28-arts-education\">Proposition 28\u003c/a> would roughly double the amount of funding California gives schools for arts and music education, and it would send 30% of that money to schools serving students from lower-income families. Voters would also be locking in that funding stream for the future.\u003c/p>\n\u003cp>The measure would \u003ca href=\"https://oag.ca.gov/system/files/initiatives/pdfs/21-0036A1%20%28Music%20and%20Art%20Education%29.pdf\">require public schools to spend 80%\u003c/a> of the money on hiring full-time arts and music teachers, which could double the number of arts and music teachers across the state.\u003c/p>\n\u003cp>In 2016, voters in Berkeley, a wealthier part of the Bay Area, raised taxes to boost music education by \u003ca href=\"https://ballotpedia.org/Berkeley_Unified_School_District,_California,_Parcel_Tax,_Measure_E1_(November_2016)\">passing a parcel tax\u003c/a> that raises $2 million annually to pay for music education for all public school kids starting in third grade.\u003c/p>\n\u003cp>But just 11 miles north, in Richmond, many public elementary school principals have to plead with local community arts organizations to partner with them. Coming out of the pandemic, that cry became even louder, according to Andrea Landin, director of school and neighborhood partnerships at the East Bay Center for the Performing Arts.[pullquote size=\"medium\" align=\"right\" citation=\"Andrea Landin, director of school and neighborhood partnerships, East Bay Center for the Performing Arts\"]‘Sometimes kids can’t really name exactly what’s going on emotionally or mentally, but once they start to move or sing or play an instrument or get on stage and pretend to be someone else, then there’s so much healing that goes on, so much realization and growth.’[/pullquote]\u003c/p>\n\u003cp>“I had so many principals call me or email me saying that, ‘My students have been sitting in front of a screen for a year and a half. They need to sing, they need to move, they need to express themselves,’” Landin said.\u003c/p>\n\u003cp>\u003ca href=\"https://www.eastbaycenter.org/school-and-neighborhood-partnerships\">East Bay Center for the Performing Arts\u003c/a> pays artists who don’t have a teaching credential about $45 an hour to help teach art and music in as many WCCUSD public schools requesting help as they can. However, the center has a hard time competing with tuition-based arts organizations in other parts of the Bay Area, which can pay those same artists between $80 and $100 an hour.\u003c/p>\n\u003cp>Landin said there is never enough money or artists to meet the demand, which means lots of kids in the Richmond area are missing out.\u003c/p>\n\u003cfigure id=\"attachment_11929018\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11929018\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS59095_Richmond_Orchestra_008-qut.jpg\" alt=\"A white music teacher in his 30s teaches a small orchestra of kids playing various instruments in a high school music classroom.\" width=\"1920\" height=\"1282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59095_Richmond_Orchestra_008-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59095_Richmond_Orchestra_008-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59095_Richmond_Orchestra_008-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59095_Richmond_Orchestra_008-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59095_Richmond_Orchestra_008-qut-1536x1026.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Music director Andrew Wilke conducts orchestra class at Richmond High School in Richmond on Wednesday, Oct. 5, 2022. Richmond High School’s arts programming would benefit from Prop. 28, a measure that would roughly double the amount of funding that California gives schools for arts and music education. ‘We could use it, desperately,’ said Wilke. ‘To not have to worry about finances on top of teaching seven classes would make my job more manageable, which would make me a better teacher and the kids happier.’ \u003ccite>(Marlena Sloss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Sometimes kids can’t really name exactly what’s going on emotionally or mentally, but once they start to move or sing or play an instrument or get on stage and pretend to be someone else, then there’s so much healing that goes on, so much realization and growth,” Landin explained.\u003c/p>\n\u003cp>If approved by voters, Proposition 28 would roughly double funding for the arts in schools. The Legislative Analyst’s Office estimates it would raise between $800 million and $1 billion annually.\u003c/p>\n\u003cp>By some estimates, that would translate to about $166 per student across the state. A school like Richmond High would have about $250,000 more a year.\u003c/p>\n\u003cp>“That would change everything,” said Andrew Wilke, director of the Richmond High Music Department. Wilke teaches seven periods, runs the marching band and the orchestra, and oversees all the instruments, scheduling and transportation.\u003c/p>\n\u003cp>“I’m at rock-bottom emotionally,” Wilke said. “Not only am I trying to hold all these classes together, I’m trying to find money, I’m trying to support the kids, which is the actual real job we all have.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Currently, Richmond High’s music programs can only serve 140 students. Wilke said more money would mean hiring another music teacher, and the opportunities the school could create for students wouldn’t be limited by how much time he can commit to it. Wilke noted that, with guaranteed funding, there wouldn’t be a struggle for supplies, or a limit to performances the orchestra and marching band could do for lack of transportation funds. And Richmond High could hire specialized instrument coaches for students like Montances.\u003c/p>\n\u003cp>Of the approximately $1 billion raised by Proposition 28 each school year, 30% would go to schools serving economically disadvantaged students.\u003c/p>\n\u003cp>The California Teachers Association \u003ca href=\"https://ballotpedia.org/California_Proposition_28,_Art_and_Music_K-12_Education_Funding_Initiative_(2022)\">has helped get the measure passed by contributing $1 million\u003c/a>.\u003c/p>\n\u003cp>Landin thinks filling these credentialed art and music teaching positions could be a challenge for schools. “I was like, ‘This is beautiful. Where are they going to find all the teachers?,’” she said.\u003c/p>\n\u003cp>Landin says during COVID, many \u003ca href=\"https://www.nytimes.com/2022/08/29/arts/design/san-francisco-art-market.html\">artists left the Bay Area\u003c/a> for less expensive places. And spoken-word artist and poet \u003ca href=\"http://www.jazzhudson.com/about/\">Jazz Monique Hudson\u003c/a>, who has taught on contract in Oakland schools, has seen arts programs scaled back or eliminated when schools make budget cuts. Hudson had to get full-time employment with the district attorney’s office as a victim advocate to be able to support her family.\u003c/p>\n\u003cp>“Youth Speaks is very prominent in San Francisco,” Hudson explained, referring to the leading nonprofit presenter of youth poetry slams, spoken-word performance and youth-development programs. “However, they have not been able to maintain and sustain their partnerships with Oakland schools due to funding. I was set to teach at Elmhurst Middle School this semester but could not teach in the art program because there wasn’t enough funding for the spoken-word program.”\u003c/p>\n\u003cp>If voters approved Proposition 28, it would lock in funding for the arts, making them less susceptible to budget cuts in tough times.\u003c/p>\n\u003cp>That, in fact, is one reason some critics have come out against the measure: They object to so-called “ballot box budgeting” because it locks in funding that can’t be undone, for example, when a recession hits.\u003c/p>\n\u003cp>Marguerite Roza, who studies education finance at Georgetown University, points out that California schools have more money now than they’ve had in years. The current state budget, which passed in June, increased school spending by 13% over last year. Some of that funding could theoretically go to arts education.\u003c/p>\n\u003cfigure id=\"attachment_11929033\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11929033\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS59091_Richmond_Orchestra_005-qut.jpg\" alt=\"Students in the school orchestra sit facing their teacher, a black girl on violin, a Latina girl on viola, and a Latino boy on violin.\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59091_Richmond_Orchestra_005-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59091_Richmond_Orchestra_005-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59091_Richmond_Orchestra_005-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59091_Richmond_Orchestra_005-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59091_Richmond_Orchestra_005-qut-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Angelee Montances, a 12th grader at Richmond High School in Richmond, plays the viola during orchestra class on Wednesday, Oct. 5, 2022. \u003ccite>(Marlena Sloss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Roza says, if passed, Proposition 28 would require the state and schools to come up with new ways of tracking personnel — since school districts will have to specifically show how they spent their new arts funds — which can be complicated and take time to implement. Furthermore, she adds, the creation of a separate “categorical” would add extra rules to different pots of funds, which could mean that districts end up spending more time on compliance than on trying to deliver what their students need.\u003c/p>\n\u003cp>“This push for separate arts ed money would be a move back to the old model, where legislators dictate how districts carve up their budgets,” Roza said, referring to the period before the implementation of the \u003ca href=\"https://www.cde.ca.gov/fg/aa/lc/\">Local Control Funding Formula\u003c/a> in 2016, which fundamentally changed how all local education agencies (LEAs) in the state are funded.\u003c/p>\n\u003cp>At Peres Elementary School in Richmond, Principal Christy Chen says she currently has to constantly hustle community partnerships to bring art into the schools.\u003c/p>\n\u003cp>This fall, thanks to East Bay Center for the Performing Arts, her fourth graders are learning about African rhythms. But Chen says right now her kids only get a half hour of art or music a week.\u003c/p>\n\u003cp>“That would be a dream to get a music teacher, because at the end of the day it gets the kids excited,” Chen said.\u003c/p>\n\u003cp>At Richmond High, music leader Andrew Wilke says he doesn’t need much. Even another $20,000 would help his kids.\u003c/p>\n\u003cp>“I tell the kids, the arts and music — these are languages. It’s not a tactile language like English, where we can say ‘desk,’ ‘floor,’ ‘sky.’ It’s an emotional language where we can express ourselves. I think folks who haven’t had an opportunity to really dive into that don’t fully understand it, which makes it difficult to get the importance across,” he said.\u003c/p>\n\u003cp>\u003cem>This story was made possible as part of The California Newsroom – a collaboration of California’s public radio stations, NPR and CalMatters.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "As California prepares to vote on Prop. 28, schools in lower-income and working-class districts face greater challenges than those in affluent ones in terms of teaching and funding arts education.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been clear to Richmond High School junior Angelee Montances that when it comes to arts and music education, all things are not created equal in Richmond.\u003c/p>\n\u003cp>“Communities like mine, Richmond High, where it’s predominantly brown kids, we don’t get the same opportunity as in like Hercules, which is, you know, predominantly Asian kids and white kids,” she said.\u003c/p>\n\u003cp>Montances is a senior who plays viola in the Richmond High orchestra. The East Bay public high school, along with Kennedy High, is located in the West Contra Costa Unified School District, and is made up of 1,511 students, of whom 85.4% are Latino.\u003c/p>\n\u003cp>“And, you know, it also sucks because I feel like parents, students and teachers have tried here in Richmond High and Kennedy High to get the funding that they have (at Hercules High),” Montances said. “But we don’t have the money, you know.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Many Richmond High families, including that of Montances, consider themselves working class.\u003c/p>\n\u003cp>“It’s really something you think about and not many people say, but it’s also a race thing. It’s a socioeconomic class thing, and it’s just an issue,” said Montances.\u003c/p>\n\u003cp>California education law calls for all public schools to offer comprehensive arts education, but in reality, very few of them do. This November, voters will decide whether or not to guarantee arts funding in public schools, including charters.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/voterguide/proposition-28-arts-education\">Proposition 28\u003c/a> would roughly double the amount of funding California gives schools for arts and music education, and it would send 30% of that money to schools serving students from lower-income families. Voters would also be locking in that funding stream for the future.\u003c/p>\n\u003cp>The measure would \u003ca href=\"https://oag.ca.gov/system/files/initiatives/pdfs/21-0036A1%20%28Music%20and%20Art%20Education%29.pdf\">require public schools to spend 80%\u003c/a> of the money on hiring full-time arts and music teachers, which could double the number of arts and music teachers across the state.\u003c/p>\n\u003cp>In 2016, voters in Berkeley, a wealthier part of the Bay Area, raised taxes to boost music education by \u003ca href=\"https://ballotpedia.org/Berkeley_Unified_School_District,_California,_Parcel_Tax,_Measure_E1_(November_2016)\">passing a parcel tax\u003c/a> that raises $2 million annually to pay for music education for all public school kids starting in third grade.\u003c/p>\n\u003cp>But just 11 miles north, in Richmond, many public elementary school principals have to plead with local community arts organizations to partner with them. Coming out of the pandemic, that cry became even louder, according to Andrea Landin, director of school and neighborhood partnerships at the East Bay Center for the Performing Arts.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I had so many principals call me or email me saying that, ‘My students have been sitting in front of a screen for a year and a half. They need to sing, they need to move, they need to express themselves,’” Landin said.\u003c/p>\n\u003cp>\u003ca href=\"https://www.eastbaycenter.org/school-and-neighborhood-partnerships\">East Bay Center for the Performing Arts\u003c/a> pays artists who don’t have a teaching credential about $45 an hour to help teach art and music in as many WCCUSD public schools requesting help as they can. However, the center has a hard time competing with tuition-based arts organizations in other parts of the Bay Area, which can pay those same artists between $80 and $100 an hour.\u003c/p>\n\u003cp>Landin said there is never enough money or artists to meet the demand, which means lots of kids in the Richmond area are missing out.\u003c/p>\n\u003cfigure id=\"attachment_11929018\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11929018\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS59095_Richmond_Orchestra_008-qut.jpg\" alt=\"A white music teacher in his 30s teaches a small orchestra of kids playing various instruments in a high school music classroom.\" width=\"1920\" height=\"1282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59095_Richmond_Orchestra_008-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59095_Richmond_Orchestra_008-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59095_Richmond_Orchestra_008-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59095_Richmond_Orchestra_008-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59095_Richmond_Orchestra_008-qut-1536x1026.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Music director Andrew Wilke conducts orchestra class at Richmond High School in Richmond on Wednesday, Oct. 5, 2022. Richmond High School’s arts programming would benefit from Prop. 28, a measure that would roughly double the amount of funding that California gives schools for arts and music education. ‘We could use it, desperately,’ said Wilke. ‘To not have to worry about finances on top of teaching seven classes would make my job more manageable, which would make me a better teacher and the kids happier.’ \u003ccite>(Marlena Sloss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Sometimes kids can’t really name exactly what’s going on emotionally or mentally, but once they start to move or sing or play an instrument or get on stage and pretend to be someone else, then there’s so much healing that goes on, so much realization and growth,” Landin explained.\u003c/p>\n\u003cp>If approved by voters, Proposition 28 would roughly double funding for the arts in schools. The Legislative Analyst’s Office estimates it would raise between $800 million and $1 billion annually.\u003c/p>\n\u003cp>By some estimates, that would translate to about $166 per student across the state. A school like Richmond High would have about $250,000 more a year.\u003c/p>\n\u003cp>“That would change everything,” said Andrew Wilke, director of the Richmond High Music Department. Wilke teaches seven periods, runs the marching band and the orchestra, and oversees all the instruments, scheduling and transportation.\u003c/p>\n\u003cp>“I’m at rock-bottom emotionally,” Wilke said. “Not only am I trying to hold all these classes together, I’m trying to find money, I’m trying to support the kids, which is the actual real job we all have.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Currently, Richmond High’s music programs can only serve 140 students. Wilke said more money would mean hiring another music teacher, and the opportunities the school could create for students wouldn’t be limited by how much time he can commit to it. Wilke noted that, with guaranteed funding, there wouldn’t be a struggle for supplies, or a limit to performances the orchestra and marching band could do for lack of transportation funds. And Richmond High could hire specialized instrument coaches for students like Montances.\u003c/p>\n\u003cp>Of the approximately $1 billion raised by Proposition 28 each school year, 30% would go to schools serving economically disadvantaged students.\u003c/p>\n\u003cp>The California Teachers Association \u003ca href=\"https://ballotpedia.org/California_Proposition_28,_Art_and_Music_K-12_Education_Funding_Initiative_(2022)\">has helped get the measure passed by contributing $1 million\u003c/a>.\u003c/p>\n\u003cp>Landin thinks filling these credentialed art and music teaching positions could be a challenge for schools. “I was like, ‘This is beautiful. Where are they going to find all the teachers?,’” she said.\u003c/p>\n\u003cp>Landin says during COVID, many \u003ca href=\"https://www.nytimes.com/2022/08/29/arts/design/san-francisco-art-market.html\">artists left the Bay Area\u003c/a> for less expensive places. And spoken-word artist and poet \u003ca href=\"http://www.jazzhudson.com/about/\">Jazz Monique Hudson\u003c/a>, who has taught on contract in Oakland schools, has seen arts programs scaled back or eliminated when schools make budget cuts. Hudson had to get full-time employment with the district attorney’s office as a victim advocate to be able to support her family.\u003c/p>\n\u003cp>“Youth Speaks is very prominent in San Francisco,” Hudson explained, referring to the leading nonprofit presenter of youth poetry slams, spoken-word performance and youth-development programs. “However, they have not been able to maintain and sustain their partnerships with Oakland schools due to funding. I was set to teach at Elmhurst Middle School this semester but could not teach in the art program because there wasn’t enough funding for the spoken-word program.”\u003c/p>\n\u003cp>If voters approved Proposition 28, it would lock in funding for the arts, making them less susceptible to budget cuts in tough times.\u003c/p>\n\u003cp>That, in fact, is one reason some critics have come out against the measure: They object to so-called “ballot box budgeting” because it locks in funding that can’t be undone, for example, when a recession hits.\u003c/p>\n\u003cp>Marguerite Roza, who studies education finance at Georgetown University, points out that California schools have more money now than they’ve had in years. The current state budget, which passed in June, increased school spending by 13% over last year. Some of that funding could theoretically go to arts education.\u003c/p>\n\u003cfigure id=\"attachment_11929033\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11929033\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS59091_Richmond_Orchestra_005-qut.jpg\" alt=\"Students in the school orchestra sit facing their teacher, a black girl on violin, a Latina girl on viola, and a Latino boy on violin.\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59091_Richmond_Orchestra_005-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59091_Richmond_Orchestra_005-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59091_Richmond_Orchestra_005-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59091_Richmond_Orchestra_005-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/10/RS59091_Richmond_Orchestra_005-qut-1536x1025.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Angelee Montances, a 12th grader at Richmond High School in Richmond, plays the viola during orchestra class on Wednesday, Oct. 5, 2022. \u003ccite>(Marlena Sloss/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Roza says, if passed, Proposition 28 would require the state and schools to come up with new ways of tracking personnel — since school districts will have to specifically show how they spent their new arts funds — which can be complicated and take time to implement. Furthermore, she adds, the creation of a separate “categorical” would add extra rules to different pots of funds, which could mean that districts end up spending more time on compliance than on trying to deliver what their students need.\u003c/p>\n\u003cp>“This push for separate arts ed money would be a move back to the old model, where legislators dictate how districts carve up their budgets,” Roza said, referring to the period before the implementation of the \u003ca href=\"https://www.cde.ca.gov/fg/aa/lc/\">Local Control Funding Formula\u003c/a> in 2016, which fundamentally changed how all local education agencies (LEAs) in the state are funded.\u003c/p>\n\u003cp>At Peres Elementary School in Richmond, Principal Christy Chen says she currently has to constantly hustle community partnerships to bring art into the schools.\u003c/p>\n\u003cp>This fall, thanks to East Bay Center for the Performing Arts, her fourth graders are learning about African rhythms. But Chen says right now her kids only get a half hour of art or music a week.\u003c/p>\n\u003cp>“That would be a dream to get a music teacher, because at the end of the day it gets the kids excited,” Chen said.\u003c/p>\n\u003cp>At Richmond High, music leader Andrew Wilke says he doesn’t need much. Even another $20,000 would help his kids.\u003c/p>\n\u003cp>“I tell the kids, the arts and music — these are languages. It’s not a tactile language like English, where we can say ‘desk,’ ‘floor,’ ‘sky.’ It’s an emotional language where we can express ourselves. I think folks who haven’t had an opportunity to really dive into that don’t fully understand it, which makes it difficult to get the importance across,” he said.\u003c/p>\n\u003cp>\u003cem>This story was made possible as part of The California Newsroom – a collaboration of California’s public radio stations, NPR and CalMatters.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A turquoise, black and red street mural covering a section of the JFK Promenade with the words “We Are on Native Land” was vandalized on Thursday night.\u003c/p>\n\u003cp>Passersby and employees of the San Francisco Recreation and Parks Department first noticed the changes early Friday morning. The lead muralist on the project, Rachel Znerold, found out via text message. The mural had been finished just a few days before, in time for Indigenous Peoples Day. Now, she learned, someone had poured black paint over the word “Native” and written “no such thing” in yellow spray paint above the blacked-out word. [pullquote size=\"medium\" align=\"right\" citation=\"Aiko Little, vice chair, WGAW's Native American and Indigenous Writers Committee\"]‘We are not an imaginary people or people of the past. This is Native land.’[/pullquote]In response, members of Bay Area Native American communities called the vandalism an attempt at cultural erasure.\u003c/p>\n\u003cp>“The recognition of our community has been met repeatedly with resistance and violent behavior,” said Mary Travis-Allen, advisory board president of San Francisco’s \u003ca href=\"https://americanindianculturaldistrict.org/\">American Indian Cultural District\u003c/a>. “Scraping paint off the ground does not erase us. We are here and present.”\u003c/p>\n\u003cp>Janine Laiwa — member of the Pomo Nation, mural painter, volunteer and community ambassador for AICD — said the mural was done in good faith and with time, love and thought.\u003c/p>\n\u003cp>“For someone to paint over the word ‘Native’ shows that racism against Native Americans is still a big issue in San Francisco,” she said.[aside tag=\"indigenous, native\" label=\"More Related Stories\"]This sentiment was echoed by Aiko Little, vice chair of the Native American and Indigenous Writers Committee of the Writers Guild of America West, or WGAW, and member of the Oglala subtribe of the Lakota people.\u003c/p>\n\u003cp>“This is not simply an act of vandalism, but an act of erasure that continues to linger behind the Native/Indigenous peoples since 1492. We are not an imaginary people or people of the past. This is Native land,” Little said. “I can only hope that the people who did this one day unlearn all the ignorance and prejudice instilled in their current actions.”\u003c/p>\n\u003cp>San Francisco Recreation and Parks Department General Manager Phil Ginsburg said he was sickened by the hateful vandalism of the mural.\u003c/p>\n\u003cp>“This ugly act cannot erase the beautiful message behind this installation,” he said. “It was specifically placed at the entrance of JFK Promenade to welcome people from around the world and (to) honor our shared connection to the land.”\u003c/p>\n\u003cp>Jonathan Cordero, chair of the Ramaytush Ohlone peoples, the original inhabitants of the San Francisco peninsula, said he thought the act was more of an anomaly.\u003c/p>\n\u003cp>“The San Francisco Bay Area is actually one of the areas in the United States where Native peoples have higher visibility than they do in other places, especially in major cities,” said Cordero. “I really see this (vandalism) as an aberration.”\u003c/p>\n\u003cp>But, he added, “when things like this happen, it becomes an opportunity for us to talk about who we are and, unfortunately, continue to have to say that we’re still here … still living in our land, still trying to make our way in the world, despite the adverse consequences of colonization, which are still ongoing.”\u003c/p>\n\u003cp>Sharaya Souza (Taos Pueblo, Ute, Kiowa), co-founder and executive director of the American Indian Cultural District, organized the mural after being asked by the SFRPD, the arts organization \u003ca href=\"https://illuminate.org/\">Illuminate\u003c/a>, and nonprofit \u003ca href=\"https://www.paintthevoid.org/\">Paint the Void\u003c/a> to participate in their Golden Mile Project along the JFK Promenade. The mural is also part of the AICD’s \u003ca href=\"https://americanindianculturaldistrict.org/indigenizesf\">Indigenize Project\u003c/a>, celebrating the long history of Native American life in San Francisco through public art.\u003c/p>\n\u003cp>“We still need to have conversations about being on Native land in San Francisco and how that makes some people feel uncomfortable,” Souza said, adding that she would like to see the mural become a talking point and a permanent installation within Golden Gate Park.\u003c/p>\n\u003cp>Znerold, the muralist, spent Friday repairing the mural alongside other muralists and around a dozen volunteers. She said she plans to continue making murals honoring Native life in San Francisco.\u003c/p>\n\u003cp>“We stand strong with our Native communities, and this has been a project that so many have poured their hearts into,” she said, describing families and passersby who stopped to help with the painting while the mural was in progress. “We’re gonna fix it up and we’re gonna keep coming back and fixing it up.”\u003c/p>\n\u003cp>She added that, as a white woman working in collaboration with Native people, she can go home and choose to not engage with racists, but for people of color and Native people, “this is what they’re facing every day.”\u003c/p>\n\u003cp>The work is part of ongoing efforts to fight racism.\u003c/p>\n\u003cp>“If anti-racist work was done, then we wouldn’t need to be out here. But it is the kind of work you have to keep showing up for every single day. So it’s a reminder, a humbling reminder, that our work is continuous,” said Znerold.\u003c/p>\n\u003cp>“It’s not actually taking anything away from you by just acknowledging the history and acknowledging the contributions and the gifts of the first people of this land.”\u003c/p>\n\u003cp>By Friday evening, the mural had been fully restored.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In response, members of Bay Area Native American communities called the vandalism an attempt at cultural erasure.\u003c/p>\n\u003cp>“The recognition of our community has been met repeatedly with resistance and violent behavior,” said Mary Travis-Allen, advisory board president of San Francisco’s \u003ca href=\"https://americanindianculturaldistrict.org/\">American Indian Cultural District\u003c/a>. “Scraping paint off the ground does not erase us. We are here and present.”\u003c/p>\n\u003cp>Janine Laiwa — member of the Pomo Nation, mural painter, volunteer and community ambassador for AICD — said the mural was done in good faith and with time, love and thought.\u003c/p>\n\u003cp>“For someone to paint over the word ‘Native’ shows that racism against Native Americans is still a big issue in San Francisco,” she said.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This sentiment was echoed by Aiko Little, vice chair of the Native American and Indigenous Writers Committee of the Writers Guild of America West, or WGAW, and member of the Oglala subtribe of the Lakota people.\u003c/p>\n\u003cp>“This is not simply an act of vandalism, but an act of erasure that continues to linger behind the Native/Indigenous peoples since 1492. We are not an imaginary people or people of the past. This is Native land,” Little said. “I can only hope that the people who did this one day unlearn all the ignorance and prejudice instilled in their current actions.”\u003c/p>\n\u003cp>San Francisco Recreation and Parks Department General Manager Phil Ginsburg said he was sickened by the hateful vandalism of the mural.\u003c/p>\n\u003cp>“This ugly act cannot erase the beautiful message behind this installation,” he said. “It was specifically placed at the entrance of JFK Promenade to welcome people from around the world and (to) honor our shared connection to the land.”\u003c/p>\n\u003cp>Jonathan Cordero, chair of the Ramaytush Ohlone peoples, the original inhabitants of the San Francisco peninsula, said he thought the act was more of an anomaly.\u003c/p>\n\u003cp>“The San Francisco Bay Area is actually one of the areas in the United States where Native peoples have higher visibility than they do in other places, especially in major cities,” said Cordero. “I really see this (vandalism) as an aberration.”\u003c/p>\n\u003cp>But, he added, “when things like this happen, it becomes an opportunity for us to talk about who we are and, unfortunately, continue to have to say that we’re still here … still living in our land, still trying to make our way in the world, despite the adverse consequences of colonization, which are still ongoing.”\u003c/p>\n\u003cp>Sharaya Souza (Taos Pueblo, Ute, Kiowa), co-founder and executive director of the American Indian Cultural District, organized the mural after being asked by the SFRPD, the arts organization \u003ca href=\"https://illuminate.org/\">Illuminate\u003c/a>, and nonprofit \u003ca href=\"https://www.paintthevoid.org/\">Paint the Void\u003c/a> to participate in their Golden Mile Project along the JFK Promenade. The mural is also part of the AICD’s \u003ca href=\"https://americanindianculturaldistrict.org/indigenizesf\">Indigenize Project\u003c/a>, celebrating the long history of Native American life in San Francisco through public art.\u003c/p>\n\u003cp>“We still need to have conversations about being on Native land in San Francisco and how that makes some people feel uncomfortable,” Souza said, adding that she would like to see the mural become a talking point and a permanent installation within Golden Gate Park.\u003c/p>\n\u003cp>Znerold, the muralist, spent Friday repairing the mural alongside other muralists and around a dozen volunteers. She said she plans to continue making murals honoring Native life in San Francisco.\u003c/p>\n\u003cp>“We stand strong with our Native communities, and this has been a project that so many have poured their hearts into,” she said, describing families and passersby who stopped to help with the painting while the mural was in progress. “We’re gonna fix it up and we’re gonna keep coming back and fixing it up.”\u003c/p>\n\u003cp>She added that, as a white woman working in collaboration with Native people, she can go home and choose to not engage with racists, but for people of color and Native people, “this is what they’re facing every day.”\u003c/p>\n\u003cp>The work is part of ongoing efforts to fight racism.\u003c/p>\n\u003cp>“If anti-racist work was done, then we wouldn’t need to be out here. But it is the kind of work you have to keep showing up for every single day. So it’s a reminder, a humbling reminder, that our work is continuous,” said Znerold.\u003c/p>\n\u003cp>“It’s not actually taking anything away from you by just acknowledging the history and acknowledging the contributions and the gifts of the first people of this land.”\u003c/p>\n\u003cp>By Friday evening, the mural had been fully restored.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cb>Oakland Writers Ayodele Nzinga and Leila Mottley\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This week, we welcome two contemporary Oakland authors: Leila Mottley and Dr. Ayodele Nzinga. Mottley is an Oakland Youth Poet Laureate, who at just 19 years old published “Nightcrawling” — an immersive novel and an Oprah’s Book Club selection — based on local events. She’s joined by Oakland’s inaugural Poet Laureate, Dr. Ayodele Nzinga, who shines not only as an author but also as a director, actor and educator. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Guests:\u003c/span>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Leila Mottley, “Nightcrawling” author\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Ayodele Nzinga, Oakland Poet Laureate\u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>This Week in California News and Politics\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">San Francisco Mayor London Breed, together with San Francisco Police Chief Bill Scott and San Francisco District Attorney Brooke Jenkins, announced a renewed push to prosecute drug dealers while also helping people dealing with substance use disorder. We talk with \u003c/span>\u003cb>Scott Shafer,\u003c/b> \u003cb>KQED politics and government senior editor\u003c/b>\u003cspan style=\"font-weight: 400\">, who spoke with Mayor Breed this week.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Something Beautiful: West Oakland Mural Project\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The West Oakland Mural Project highlights the vital role women played in the revolutionary Black Panther Party.\u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Oakland Writers Ayodele Nzinga and Leila Mottley\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This week, we welcome two contemporary Oakland authors: Leila Mottley and Dr. Ayodele Nzinga. Mottley is an Oakland Youth Poet Laureate, who at just 19 years old published “Nightcrawling” — an immersive novel and an Oprah’s Book Club selection — based on local events. She’s joined by Oakland’s inaugural Poet Laureate, Dr. Ayodele Nzinga, who shines not only as an author but also as a director, actor and educator. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Guests:\u003c/span>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Leila Mottley, “Nightcrawling” author\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Ayodele Nzinga, Oakland Poet Laureate\u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>This Week in California News and Politics\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">San Francisco Mayor London Breed, together with San Francisco Police Chief Bill Scott and San Francisco District Attorney Brooke Jenkins, announced a renewed push to prosecute drug dealers while also helping people dealing with substance use disorder. We talk with \u003c/span>\u003cb>Scott Shafer,\u003c/b> \u003cb>KQED politics and government senior editor\u003c/b>\u003cspan style=\"font-weight: 400\">, who spoke with Mayor Breed this week.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cb>Something Beautiful: West Oakland Mural Project\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The West Oakland Mural Project highlights the vital role women played in the revolutionary Black Panther Party.\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "'A Leaderless Phenomenon': Critical Mass Celebrates 30th Anniversary",
"title": "'A Leaderless Phenomenon': Critical Mass Celebrates 30th Anniversary",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">At least 400 people turned out to Embarcadero Plaza in San Francisco on Friday evening to celebrate the 30th anniversary of the cycling event known as Critical Mass. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At its simplest, Critical Mass is a group bicycle ride. But it has also been called an “organized coincidence” or a “leaderless phenomenon.” That’s because for the last 30 years, on the last Friday of every month, hundreds and sometimes thousands of cyclists have participated in a ride that has no leadership, organization or planned route to speak of. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11927466\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11927466\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/IMG_2968-800x600.jpeg\" alt=\"A group of older people pose for a group photo with waving and smiling and buildings in the background.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/IMG_2968-800x600.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/IMG_2968-1020x765.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/IMG_2968-160x120.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/IMG_2968-1536x1152.jpeg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/IMG_2968-2048x1536.jpeg 2048w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/IMG_2968-1920x1440.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Early Critical Mass riders. From left, Justin Fraser, Amandeep Jawa, Larry Chin, Anna Sojourner, Glenn Bachman, Will Rostov, Chris Carlsson, LisaRuth Elliot, Hugh D’Andrade, Steven Black, Russell Howze, Steve Jones, Quintin Mecke, and Nancy Botkin. \u003ccite>(Courtesy of Hugh D'Andrade)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Originally called the “Commute Clot,” the ride began in September 1992 when a group of about 50 friends decided to ride home together after work on a Friday. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Why don't we just get together at the end of the day and ride home together as a way of promoting our own collective experience of bicycling in extremely hostile conditions?” said Chris Carlsson, one of the cyclists who participated in the original ride.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11927467\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11927467\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58935_R0005630-qut-1-800x533.jpg\" alt=\"Dozens of people on bicycles ride their bikes with the Ferry Building clock tower in the background.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58935_R0005630-qut-1-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58935_R0005630-qut-1-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58935_R0005630-qut-1-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58935_R0005630-qut-1-1536x1024.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58935_R0005630-qut-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ride began at 6:30 p.m. on Friday as hundreds of cyclists rode out from the Embarcadero. \u003ccite>(Aryk Copley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Cycling in San Francisco in the early 90s was a far cry from the protected bike lanes and hordes of bicycle commuters found on city streets today. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We were so angry because you weren't allowed to bicycle in San Francisco in the early 90s. I mean, you certainly could do it, it was legal, but you were taking your life into your own hands.” said Dave Snyder, another cyclist who participated in the original ride. “It was our way of collectively asserting our rights.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11927468\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11927468 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/CM_visionary-800x317.jpg\" alt='A black-and-white illustration of people riding bikes with the words \"Critical Mass: Visionary Traffic Jams Since 1992\" written at the bottom' width=\"800\" height=\"317\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/CM_visionary-800x317.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/CM_visionary-1020x404.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/CM_visionary-160x63.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/CM_visionary-1536x608.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/CM_visionary-2048x811.jpg 2048w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/CM_visionary-1920x760.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Critical Mass Flyer from 2002 by Hugh D’Andrade, Courtesy of Hugh D'Andrade\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Over the years, the ride gained popularity in San Francisco. Snyder estimates that over 5,000 people attended a Critical Mass ride in 1996. The ride also spread to other cities. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“When it started to spread to other cities right away, we knew that it was something much bigger than we had initially intended,” said Hugh D’Andrade, another original Critical Mass rider. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11927469\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11927469\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58916_DSC08062-qut-800x533.jpg\" alt=\"A woman in a white shirt and a woman in a red shirt with helmets and riding bikes, smile with other cyclists around them.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58916_DSC08062-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58916_DSC08062-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58916_DSC08062-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58916_DSC08062-qut-1536x1024.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58916_DSC08062-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Critical Mass has become an international event that has spread to hundreds of cities worldwide. \u003ccite>(Aryk Copley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Chris Carlsson estimates that Critical Mass events now take place in over 400 cities across the world.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As Critical Mass grew, so did the attention it got from local politicians. In 1997, then-Mayor Willie Brown famously \u003c/span>\u003ca href=\"https://www.sfgate.com/news/article/NEWS-ANALYSIS-Bike-Fiasco-Points-Up-S-F-2831483.php\">\u003cspan style=\"font-weight: 400\">ordered the police\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> to crack down on the event after thousands of cyclists snarled traffic in city streets.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11927470\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg class=\"wp-image-11927470 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/CM20-poster-2-multi-flat-160x316.png\" alt=\"\" width=\"160\" height=\"316\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/CM20-poster-2-multi-flat-160x316.png 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/CM20-poster-2-multi-flat.png 500w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">Critical Mass Poster from 2012 by Hugh D’Andrade, Courtesy of Hugh D'Andrade\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Dave Snyder, who was executive director of the San Francisco Bicycle Coalition at the time, said this moment in Critical Mass’ history produced an inflection point where membership in the Bicycle Coalition soared, and politicians realized they needed to heed calls for better bicycle infrastructure in the city. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“That was when the city had to take seriously what the Bicycle Coalition had been asking it to do for a long time,” said Snyder. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It was really interesting when Willie Brown cracked down on Critical Mass. It just caused all the bicyclists to come out in support of our movement. Thanks Willie Brown,” said Hugh D’Andrade.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Critical Mass has received criticism over the years for instances where participants have acted aggressively and violently toward \u003c/span>\u003ca href=\"https://www.latimes.com/local/lanow/la-me-ln-critical-mass-bicyclist-conviction-san-francisco-assault-20160627-snap-story.html\">\u003cspan style=\"font-weight: 400\">motorists\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Cyclist Chris Carlsson says these people are a minority, and characterizes them as the “testosterone brigade.” He says it’s the same bad apples that are present at any public event, but it isn’t what the ride was intended to be, and it’s something the original riders say they fought against in the early years.[pullquote size=\"large\" align=\"right\" citation=\"Chris Carlsson, original Critical Mass rider\"]'Once you're in the streets and you're filling the streets with bicycles and the sound of spinning wheels and tinkling bells and conversation, it just radically alters your imagination about what cities could be.'[/pullquote]\u003c/span>\u003cspan style=\"font-weight: 400\">“In the early days of Critical Mass, we would put a lot of energy into circulating flyers and sort of arguing against that perspective and saying, ‘Hey, that's not really what it's about. We're all about being inclusive. We want to invite people out of their cars to join us.’” said Hugh D’Andrade. “And that took a lot of energy. And, over time, we stopped doing that as much.“\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11927471\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-11927471 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58933_R0005571-qut.jpg\" alt=\"A woman in her late 30s holds her 10-year-old son and stands next to another woman in her 20s ass they smile at the camera.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58933_R0005571-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58933_R0005571-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58933_R0005571-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58933_R0005571-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58933_R0005571-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">SF residents Silver Koester, 10, and her mother Lyndsey Hawkins (center), enjoyed the ride. \u003ccite>(Aryk Copley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">D’Andrade himself said, prior to Friday’s anniversary, he hadn’t participated in Critical Mass for a decade. He said he stopped going in 2012 because he felt that the ride had become more dominated by “very loud men yelling.” He said he didn’t feel like it was his scene anymore. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It's always been a leaderless phenomenon, and it's for everybody to shape it as they see fit. I would like to see more women, more people of color, more people with a friendly, inviting attitude coming out to join critical mass.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11927472\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-11927472 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58928_R0005516-qut.jpg\" alt=\"Two men leaning on their bikes have a chat, one has long hair, the other is wearing a red bandana, both are in the early 20s.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58928_R0005516-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58928_R0005516-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58928_R0005516-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58928_R0005516-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58928_R0005516-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Critical Mass has been variously described as '\u003cspan style=\"font-weight: 400\">organized coincidence,' a 'leaderless phenomenon,' and a 'visionary traffic jam' over the last three decades.\u003c/span> \u003ccite>(Aryk Copley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The mood was celebratory on Friday as cyclists riding decorated bikes wearing costumes waited for the 30th anniversary ride to begin. Oakland resident Slim Buick, 55, has been riding with Critical Mass since the mid-90s, and arrived on a custom bicycle constructed of a playground-style spring horse mounted to a BMX bike. His favorite thing about attending? “Meeting people and just riding around.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11927475\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11927475\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58904_DSC07998-qut.jpg\" alt=\"A man with a wide-brimmed hat, sunglasses, and a suit stands in front of his custom bicycle constructed of a playground-style spring horse mounted to a BMX bike.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58904_DSC07998-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58904_DSC07998-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58904_DSC07998-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58904_DSC07998-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58904_DSC07998-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Oakland resident Slim Buick, 55, arrived on a custom bicycle constructed of a playground-style spring horse mounted to a BMX bike. \u003ccite>(Aryk Copley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Elai Fresco, 30, said the first time he saw Critical Mass was in Madrid, Spain. \u003c/span>\u003cspan style=\"font-weight: 400\">“It was the most party vibe I've ever seen. It was just people enjoying themselves out in the streets. It was kind of a cool contrast from the way you normally think about rush hour traffic on a Friday, where you just see misery and pain and everyone hates it,” said Fresco. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Maryann Blackwell, 73, said she has been car-free for six years. \u003c/span>“Going to Critical Mass is just what it sounds like. A lot of people riding bikes with no particular rules. We just take over the streets. We take back the streets to the people,” said Blackwell.\u003c/p>\n\u003cfigure id=\"attachment_11927476\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11927476\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58901_DSC07975-qut.jpg\" alt=\"A woman in her seventies wearing a helmet, glasses, red long-sleeve sweater and a jean vest waves at the camera.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58901_DSC07975-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58901_DSC07975-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58901_DSC07975-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58901_DSC07975-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58901_DSC07975-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">SF resident Maryann Blackwell, 73, said she has been car-free for six years. \u003ccite>(Aryk Copley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Alena Kuczynsk, 34, said the ride is empowering. \u003c/span>\u003cspan style=\"font-weight: 400\">“Critical mass just feels like you're a part of a solid unbreakable mass of bikes. You feel powerful and part of community,” said Kuczynsk.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11927478\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-11927478 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58929_R0005550-qut.jpg\" alt=\"Two women in their 30s pose for the camera in front of a blue bike, one woman is wearing a red jacket, the other a green one with patterns, both are smiling.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58929_R0005550-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58929_R0005550-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58929_R0005550-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58929_R0005550-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58929_R0005550-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alena Kuczynski, 34, of San Francisco (left) and her friend get ready to ride out. \u003ccite>(Aryk Copley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">That community has changed over the years. Original rider Chris \u003c/span>\u003cspan style=\"font-weight: 400\">Carlsson acknowledges the bike scene in San Francisco isn’t what it once was when Critical Mass began. Back then, bicycling was a scrappy subculture that was fighting for its right to a place at the transportation table. These days, as the bicycle coalition has transformed into a political advocacy machine — and as commuting by bicycle has become sensible, not suicidal — Critical Mass in San Francisco feels different.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Events these days draw nowhere near the thousands of cyclists that swelled city streets and blocked intersections in years past. But Carlsson is hopeful that Critical Mass can be repurposed for the pressing issues of today. He says it's a tactic that is available to people to use for a purpose, to use for a mission, if they have one.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It's in the DNA of the culture here. Everybody knows how to do Critical Mass,” said Carlsson. “When the George Floyd moment was upon us back in 2020, there was a mass bike ride. They called it a ‘Critical Mass for George Floyd,’ and 3,000 people showed up. It did everything that Critical Mass ever could do.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11927479\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11927479\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58895_DSC00060-qut.jpg\" alt=\"A man in his 60s with a trimmed white beard wearing a black cap and a black hoodie smiles as he looks away from the camera.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58895_DSC00060-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58895_DSC00060-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58895_DSC00060-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58895_DSC00060-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58895_DSC00060-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chris Carlsson, 65, is an original Critical Mass participant. \u003ccite>(Aryk Copley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Around 6:30 p.m., the bikes started leaving the plaza and rolling down the Embarcadero as a pink-hued sunset flooded the sky behind the Bay Bridge. Some cyclists stood in front of cars in intersections, blocking traffic as a steady stream of cyclists rolled past. Giants fans walking to an evening baseball game stopped and stared. Drivers put their heads in their hands. But from the perspective of a bicycle seat, a San Franciscan tradition was taking place. It’s something Chris Carlsson calls “the euphoria of the experience.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Once you're in the streets and you're filling the streets with bicycles and the sound of spinning wheels and tinkling bells and conversation, it just radically alters your imagination about what cities could be.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Hundreds turned out to Embarcadero Plaza in San Francisco on Friday for Critical Mass, which has been held for 30 consecutive years since 1992 and has since spread to over 400 cities.",
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"description": "Hundreds turned out to Embarcadero Plaza in San Francisco on Friday for Critical Mass, which has been held for 30 consecutive years since 1992 and has since spread to over 400 cities.",
"title": "'A Leaderless Phenomenon': Critical Mass Celebrates 30th Anniversary | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">At least 400 people turned out to Embarcadero Plaza in San Francisco on Friday evening to celebrate the 30th anniversary of the cycling event known as Critical Mass. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At its simplest, Critical Mass is a group bicycle ride. But it has also been called an “organized coincidence” or a “leaderless phenomenon.” That’s because for the last 30 years, on the last Friday of every month, hundreds and sometimes thousands of cyclists have participated in a ride that has no leadership, organization or planned route to speak of. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11927466\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11927466\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/IMG_2968-800x600.jpeg\" alt=\"A group of older people pose for a group photo with waving and smiling and buildings in the background.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/IMG_2968-800x600.jpeg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/IMG_2968-1020x765.jpeg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/IMG_2968-160x120.jpeg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/IMG_2968-1536x1152.jpeg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/IMG_2968-2048x1536.jpeg 2048w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/IMG_2968-1920x1440.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Early Critical Mass riders. From left, Justin Fraser, Amandeep Jawa, Larry Chin, Anna Sojourner, Glenn Bachman, Will Rostov, Chris Carlsson, LisaRuth Elliot, Hugh D’Andrade, Steven Black, Russell Howze, Steve Jones, Quintin Mecke, and Nancy Botkin. \u003ccite>(Courtesy of Hugh D'Andrade)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Originally called the “Commute Clot,” the ride began in September 1992 when a group of about 50 friends decided to ride home together after work on a Friday. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Why don't we just get together at the end of the day and ride home together as a way of promoting our own collective experience of bicycling in extremely hostile conditions?” said Chris Carlsson, one of the cyclists who participated in the original ride.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11927467\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11927467\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58935_R0005630-qut-1-800x533.jpg\" alt=\"Dozens of people on bicycles ride their bikes with the Ferry Building clock tower in the background.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58935_R0005630-qut-1-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58935_R0005630-qut-1-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58935_R0005630-qut-1-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58935_R0005630-qut-1-1536x1024.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58935_R0005630-qut-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ride began at 6:30 p.m. on Friday as hundreds of cyclists rode out from the Embarcadero. \u003ccite>(Aryk Copley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Cycling in San Francisco in the early 90s was a far cry from the protected bike lanes and hordes of bicycle commuters found on city streets today. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We were so angry because you weren't allowed to bicycle in San Francisco in the early 90s. I mean, you certainly could do it, it was legal, but you were taking your life into your own hands.” said Dave Snyder, another cyclist who participated in the original ride. “It was our way of collectively asserting our rights.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11927468\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11927468 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/CM_visionary-800x317.jpg\" alt='A black-and-white illustration of people riding bikes with the words \"Critical Mass: Visionary Traffic Jams Since 1992\" written at the bottom' width=\"800\" height=\"317\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/CM_visionary-800x317.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/CM_visionary-1020x404.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/CM_visionary-160x63.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/CM_visionary-1536x608.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/CM_visionary-2048x811.jpg 2048w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/CM_visionary-1920x760.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Critical Mass Flyer from 2002 by Hugh D’Andrade, Courtesy of Hugh D'Andrade\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Over the years, the ride gained popularity in San Francisco. Snyder estimates that over 5,000 people attended a Critical Mass ride in 1996. The ride also spread to other cities. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“When it started to spread to other cities right away, we knew that it was something much bigger than we had initially intended,” said Hugh D’Andrade, another original Critical Mass rider. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11927469\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11927469\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58916_DSC08062-qut-800x533.jpg\" alt=\"A woman in a white shirt and a woman in a red shirt with helmets and riding bikes, smile with other cyclists around them.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58916_DSC08062-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58916_DSC08062-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58916_DSC08062-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58916_DSC08062-qut-1536x1024.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58916_DSC08062-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Critical Mass has become an international event that has spread to hundreds of cities worldwide. \u003ccite>(Aryk Copley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Chris Carlsson estimates that Critical Mass events now take place in over 400 cities across the world.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As Critical Mass grew, so did the attention it got from local politicians. In 1997, then-Mayor Willie Brown famously \u003c/span>\u003ca href=\"https://www.sfgate.com/news/article/NEWS-ANALYSIS-Bike-Fiasco-Points-Up-S-F-2831483.php\">\u003cspan style=\"font-weight: 400\">ordered the police\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> to crack down on the event after thousands of cyclists snarled traffic in city streets.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11927470\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg class=\"wp-image-11927470 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/CM20-poster-2-multi-flat-160x316.png\" alt=\"\" width=\"160\" height=\"316\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/CM20-poster-2-multi-flat-160x316.png 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/CM20-poster-2-multi-flat.png 500w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">Critical Mass Poster from 2012 by Hugh D’Andrade, Courtesy of Hugh D'Andrade\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Dave Snyder, who was executive director of the San Francisco Bicycle Coalition at the time, said this moment in Critical Mass’ history produced an inflection point where membership in the Bicycle Coalition soared, and politicians realized they needed to heed calls for better bicycle infrastructure in the city. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“That was when the city had to take seriously what the Bicycle Coalition had been asking it to do for a long time,” said Snyder. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It was really interesting when Willie Brown cracked down on Critical Mass. It just caused all the bicyclists to come out in support of our movement. Thanks Willie Brown,” said Hugh D’Andrade.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Critical Mass has received criticism over the years for instances where participants have acted aggressively and violently toward \u003c/span>\u003ca href=\"https://www.latimes.com/local/lanow/la-me-ln-critical-mass-bicyclist-conviction-san-francisco-assault-20160627-snap-story.html\">\u003cspan style=\"font-weight: 400\">motorists\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Cyclist Chris Carlsson says these people are a minority, and characterizes them as the “testosterone brigade.” He says it’s the same bad apples that are present at any public event, but it isn’t what the ride was intended to be, and it’s something the original riders say they fought against in the early years.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003cspan style=\"font-weight: 400\">“In the early days of Critical Mass, we would put a lot of energy into circulating flyers and sort of arguing against that perspective and saying, ‘Hey, that's not really what it's about. We're all about being inclusive. We want to invite people out of their cars to join us.’” said Hugh D’Andrade. “And that took a lot of energy. And, over time, we stopped doing that as much.“\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11927471\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-11927471 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58933_R0005571-qut.jpg\" alt=\"A woman in her late 30s holds her 10-year-old son and stands next to another woman in her 20s ass they smile at the camera.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58933_R0005571-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58933_R0005571-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58933_R0005571-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58933_R0005571-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58933_R0005571-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">SF residents Silver Koester, 10, and her mother Lyndsey Hawkins (center), enjoyed the ride. \u003ccite>(Aryk Copley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">D’Andrade himself said, prior to Friday’s anniversary, he hadn’t participated in Critical Mass for a decade. He said he stopped going in 2012 because he felt that the ride had become more dominated by “very loud men yelling.” He said he didn’t feel like it was his scene anymore. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It's always been a leaderless phenomenon, and it's for everybody to shape it as they see fit. I would like to see more women, more people of color, more people with a friendly, inviting attitude coming out to join critical mass.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11927472\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-11927472 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58928_R0005516-qut.jpg\" alt=\"Two men leaning on their bikes have a chat, one has long hair, the other is wearing a red bandana, both are in the early 20s.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58928_R0005516-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58928_R0005516-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58928_R0005516-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58928_R0005516-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58928_R0005516-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Critical Mass has been variously described as '\u003cspan style=\"font-weight: 400\">organized coincidence,' a 'leaderless phenomenon,' and a 'visionary traffic jam' over the last three decades.\u003c/span> \u003ccite>(Aryk Copley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The mood was celebratory on Friday as cyclists riding decorated bikes wearing costumes waited for the 30th anniversary ride to begin. Oakland resident Slim Buick, 55, has been riding with Critical Mass since the mid-90s, and arrived on a custom bicycle constructed of a playground-style spring horse mounted to a BMX bike. His favorite thing about attending? “Meeting people and just riding around.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11927475\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11927475\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58904_DSC07998-qut.jpg\" alt=\"A man with a wide-brimmed hat, sunglasses, and a suit stands in front of his custom bicycle constructed of a playground-style spring horse mounted to a BMX bike.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58904_DSC07998-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58904_DSC07998-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58904_DSC07998-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58904_DSC07998-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58904_DSC07998-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Oakland resident Slim Buick, 55, arrived on a custom bicycle constructed of a playground-style spring horse mounted to a BMX bike. \u003ccite>(Aryk Copley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Elai Fresco, 30, said the first time he saw Critical Mass was in Madrid, Spain. \u003c/span>\u003cspan style=\"font-weight: 400\">“It was the most party vibe I've ever seen. It was just people enjoying themselves out in the streets. It was kind of a cool contrast from the way you normally think about rush hour traffic on a Friday, where you just see misery and pain and everyone hates it,” said Fresco. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Maryann Blackwell, 73, said she has been car-free for six years. \u003c/span>“Going to Critical Mass is just what it sounds like. A lot of people riding bikes with no particular rules. We just take over the streets. We take back the streets to the people,” said Blackwell.\u003c/p>\n\u003cfigure id=\"attachment_11927476\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11927476\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58901_DSC07975-qut.jpg\" alt=\"A woman in her seventies wearing a helmet, glasses, red long-sleeve sweater and a jean vest waves at the camera.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58901_DSC07975-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58901_DSC07975-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58901_DSC07975-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58901_DSC07975-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58901_DSC07975-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">SF resident Maryann Blackwell, 73, said she has been car-free for six years. \u003ccite>(Aryk Copley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Alena Kuczynsk, 34, said the ride is empowering. \u003c/span>\u003cspan style=\"font-weight: 400\">“Critical mass just feels like you're a part of a solid unbreakable mass of bikes. You feel powerful and part of community,” said Kuczynsk.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11927478\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"wp-image-11927478 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58929_R0005550-qut.jpg\" alt=\"Two women in their 30s pose for the camera in front of a blue bike, one woman is wearing a red jacket, the other a green one with patterns, both are smiling.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58929_R0005550-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58929_R0005550-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58929_R0005550-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58929_R0005550-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58929_R0005550-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Alena Kuczynski, 34, of San Francisco (left) and her friend get ready to ride out. \u003ccite>(Aryk Copley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">That community has changed over the years. Original rider Chris \u003c/span>\u003cspan style=\"font-weight: 400\">Carlsson acknowledges the bike scene in San Francisco isn’t what it once was when Critical Mass began. Back then, bicycling was a scrappy subculture that was fighting for its right to a place at the transportation table. These days, as the bicycle coalition has transformed into a political advocacy machine — and as commuting by bicycle has become sensible, not suicidal — Critical Mass in San Francisco feels different.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Events these days draw nowhere near the thousands of cyclists that swelled city streets and blocked intersections in years past. But Carlsson is hopeful that Critical Mass can be repurposed for the pressing issues of today. He says it's a tactic that is available to people to use for a purpose, to use for a mission, if they have one.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It's in the DNA of the culture here. Everybody knows how to do Critical Mass,” said Carlsson. “When the George Floyd moment was upon us back in 2020, there was a mass bike ride. They called it a ‘Critical Mass for George Floyd,’ and 3,000 people showed up. It did everything that Critical Mass ever could do.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11927479\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg class=\"size-full wp-image-11927479\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58895_DSC00060-qut.jpg\" alt=\"A man in his 60s with a trimmed white beard wearing a black cap and a black hoodie smiles as he looks away from the camera.\" width=\"1920\" height=\"1280\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58895_DSC00060-qut.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58895_DSC00060-qut-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58895_DSC00060-qut-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58895_DSC00060-qut-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/10/RS58895_DSC00060-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chris Carlsson, 65, is an original Critical Mass participant. \u003ccite>(Aryk Copley/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Around 6:30 p.m., the bikes started leaving the plaza and rolling down the Embarcadero as a pink-hued sunset flooded the sky behind the Bay Bridge. Some cyclists stood in front of cars in intersections, blocking traffic as a steady stream of cyclists rolled past. Giants fans walking to an evening baseball game stopped and stared. Drivers put their heads in their hands. But from the perspective of a bicycle seat, a San Franciscan tradition was taking place. It’s something Chris Carlsson calls “the euphoria of the experience.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Once you're in the streets and you're filling the streets with bicycles and the sound of spinning wheels and tinkling bells and conversation, it just radically alters your imagination about what cities could be.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "the-loss-of-my-familys-farm-is-a-loss-for-californias-japanese-agricultural-legacy",
"title": "The Loss of My Family's Farm Is a Loss for California's Japanese Agricultural Legacy",
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"headTitle": "The Loss of My Family’s Farm Is a Loss for California’s Japanese Agricultural Legacy | KQED",
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"content": "\u003cp>\u003cem>This story comes to us as part of a collaboration with \u003ca href=\"https://civileats.com/\">Civil Eats\u003c/a>, a daily news source for critical thought about the American food system.\u003c/em>\u003c/p>\n\u003cp>For much of my 20s, I fantasized about working on a farm. I’d wake up with the birds and spend most of my time outdoors, learning about the basics like soil composition, pest management and tractor safety. The plants themselves would teach the more conceptual subjects, on tenacity and growth. This version of myself would be more attuned to nature and to herself — the kind of knowing that I imagined could only come from true solitude, away from technology and the white noise of everyday life. The farm would be my “Walden.”\u003c/p>\n\u003cp>I didn’t realize it then, but my daydreaming wasn’t just a coping mechanism — it was largely a yearning for connection with my Japanese heritage, and the side of my family I share it with. They’d been farming in California since immigrating, and, when I was growing up, our relationship had mostly boiled down to annual pleasantries (not including my bachan, my grandma, who attended all of my horse shows and volleyball games with a bag of salty Tengu beef jerky in hand).\u003c/p>\n\u003cfigure id=\"attachment_11927398\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/panese-american-farmers-agriculture-california-history-3-caroline-sunflowers.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11927398\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/panese-american-farmers-agriculture-california-history-3-caroline-sunflowers-800x1067.jpg\" alt=\"A woman on a farm holding cut sunflowers.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/panese-american-farmers-agriculture-california-history-3-caroline-sunflowers-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/panese-american-farmers-agriculture-california-history-3-caroline-sunflowers-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/panese-american-farmers-agriculture-california-history-3-caroline-sunflowers.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Caroline Hatano harvesting her first sunflowers at Siena Farms in Sudbury, Massachusetts, in 2021. \u003ccite>(Courtesy of Caroline Hatano)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It wasn’t until last year, on the brink of turning 30, that I finally got the nerve to hit pause on the college-to-corporate-America pipeline to work on a vegetable farm just outside Boston. At my 9-to-5 job, I’d been a senior editor at a small content agency. On the farm, I was just another Carhartt-clad apprentice plastering bandages on my tender, cracked hands. Each week, we’d seed new plants in the greenhouse, transplant and maintain seedlings in the fields, harvest as fast as we could, and pack boxes for the weekly CSA (community-supported agriculture) in an assembly line, with someone’s playlist setting the pace.\u003c/p>\n\u003cp>Before I ever even touched a harvest knife, I knew my favorite crop would be sunflowers. And sure enough, every time I worked my way down a towering row, tilting each flower’s belly down to check how many petals had popped, stumbling out of the field with as many as I could sling across each arm, infant-style, I was reminded of my jichan — my grandpa.\u003c/p>\n\u003cdiv class=\"post-simple\">\n\u003cp>Some 70 years ago, he had sized up his newly leased plot of land and \u003ca href=\"https://www.dailybreeze.com/2021/11/24/the-last-japanese-american-farm-on-the-palos-verdes-peninsula-will-close-this-is-why/\">decided to gamble on the very same flower\u003c/a>. His farm was across the country in Rancho Palos Verdes, California, a coastal Los Angeles suburb that looks like a California tourism poster, with dramatic rolling hills and cliffs to match. When he died in 2015, just a year after retiring, I had a kind of awakening, realizing I’d missed my opportunity to connect with him in any kind of meaningful adult way.\u003c/p>\n\u003cp>Not long after I wrapped up my apprenticeship and moved to Brooklyn, I learned that his farm, which had continued to operate under his longtime foreman, \u003ca href=\"https://abc7.com/rancho-palos-verdes-hatano-farm-facing-shut-down-land-use/11569082/\">would soon be forced to close\u003c/a>. Like many farmers in the U.S., he’d rented his land, and \u003ca href=\"https://www.dailybreeze.com/2021/11/24/the-last-japanese-american-farm-on-the-palos-verdes-peninsula-will-close-this-is-why/\">under pressure\u003c/a> from the National Park Service, the city of Rancho Palos Verdes was terminating the lease. It would have meant the end of an era for my family regardless, but his farm also happens to hold a larger, more significant legacy: It’s the last Japanese American-founded farm on a peninsula that was once home to hundreds of them — and on Aug. 16, 2022, it ceased to exist.\u003c/p>\n\u003cfigure id=\"attachment_11927395\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/japanese-american-farmers-agriculture-california-history-5-unloading-flowers.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11927395\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/japanese-american-farmers-agriculture-california-history-5-unloading-flowers-800x590.jpg\" alt=\"A man holding baby's breath flowers, while standing beside a white van.\" width=\"800\" height=\"590\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/japanese-american-farmers-agriculture-california-history-5-unloading-flowers-800x590.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/japanese-american-farmers-agriculture-california-history-5-unloading-flowers-1020x752.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/japanese-american-farmers-agriculture-california-history-5-unloading-flowers-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/japanese-american-farmers-agriculture-california-history-5-unloading-flowers.jpg 1075w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">James Hatano favored baby’s breath on his Rancho Palos Verdes ranch, for its slight drought resistance. \u003ccite>(Courtesy of the Hatano family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I grew up hearing stories about what the peninsula used to be like, back when it was crowded with strawberry and garbanzo bean farms run by Japanese Americans, and my dad would go pigeon hunting with the rest of the farm kids as a method of pest control. Now the area is home to a Trump golf course, a luxury coastal resort and neat rows of identical houses. That’s all thanks to the Japanese American community, which first leased the land in 1882 and transformed it from desert into \u003ca href=\"https://www.sunset.com/home-garden/brief-history-of-japanese-american-farmers-in-the-west\">fertile farmland\u003c/a>. Together, many of the farmers pioneered dry-farming techniques that are still in use today, and increasingly important as California’s climate grows increasingly arid.\u003c/p>\n\u003cp>I’ve since learned that a similar story played out up and down the West Coast, despite Japanese immigrants not being able to legally own agricultural land in California until 1952. By the 1910s, nearly two-thirds of residents with Japanese ancestry on the West Coast worked in farming. And they were incredibly successful at it — \u003ca href=\"https://www.archives.gov/files/research/japanese-americans/justice-denied/chapter-4.pdf\">the average value per acre was $280\u003c/a> for Japanese farms, versus an average $38 for all West Coast farms. In Los Angeles County, where my jichan raised sunflowers and baby’s breath, Japanese American farmers generated $16 million of the $25 million flower market business.\u003c/p>\n\u003cfigure id=\"attachment_11927394\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/220811-rancho-palos-verdes-farm-japanese-american-farmers-agriculture-california-history-4-yearbook-scan.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11927394\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/220811-rancho-palos-verdes-farm-japanese-american-farmers-agriculture-california-history-4-yearbook-scan-800x524.jpeg\" alt=\"An newsletter description about the Future Farmers of America, showing a photo of young Japanese men.\" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/220811-rancho-palos-verdes-farm-japanese-american-farmers-agriculture-california-history-4-yearbook-scan-800x524.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/220811-rancho-palos-verdes-farm-japanese-american-farmers-agriculture-california-history-4-yearbook-scan-1020x668.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/220811-rancho-palos-verdes-farm-japanese-american-farmers-agriculture-california-history-4-yearbook-scan-160x105.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/220811-rancho-palos-verdes-farm-japanese-american-farmers-agriculture-california-history-4-yearbook-scan.jpeg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">While incarcerated at the Poston, Arizona, camp, James Hatano was a member of the Future Farmers of America organization. \u003ccite>(Courtesy of the Hatano family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It makes sense, then, that in 1942, when 120,000 Japanese people on the West Coast (\u003ca href=\"https://qz.com/1201502/japanese-internment-camps-during-world-war-ii-are-a-lesson-in-the-scary-economics-of-racial-resentment/\">the vast majority of whom were American citizens\u003c/a>) were incarcerated in concentration camps following Executive Order 9066, white growers were the ones who benefited from commodity price spikes due to shortages. And it’s no coincidence that today, white landowners still control an estimated 98% of farmland in the U.S. I was reminded of this fact every time I toured another organic farm last summer — each grew the same things, used the same tools, shared the same foundational history.\u003c/p>\n\u003cp>In the subsequent years of incarceration, many Japanese Americans \u003ca href=\"https://www.sunset.com/home-garden/brief-history-of-japanese-american-farmers-in-the-west\">lost their land, had their equipment stolen, and were forced into agricultural work at camps\u003c/a>. Most never returned to their former agrarian lives. After the war, the U.S. Department of Agriculture estimates that Japanese American farm ownership, including leases, dropped to \u003ca href=\"https://www.npr.org/sections/thesalt/2017/02/19/515822019/farming-behind-barbed-wire-japanese-americans-remember-wwii-incarceration\">less than a quarter\u003c/a> of what it had been.\u003c/p>\n\u003cp>My jichan was incarcerated in the Poston, Arizona, camp as a teenager, eventually escaping by enlisting in the military. It wasn’t until the 1950s that he leased his peninsula plot from the military, \u003ca href=\"https://www.visualcapitalist.com/how-much-land-does-the-u-s-military-control-in-each-state/\">which still controls 1.7 million acres of land in California\u003c/a>. When the city of Rancho Palos Verdes was incorporated in 1973, part of the land-transfer agreement mandated that the parcel he was on be converted to recreational use.\u003c/p>\n\u003cp>Whether it was out of guilt, respect or plain-old bureaucratic disorganization, the city allowed my jichan to renew his lease anyway until 2014. That was the year he retired and transferred the lease to Martin Martinez, who had started working with him at the farm as a teenage immigrant from Mexico. Allowing his legacy to live on through Martinez would have been especially meaningful, as he represents another oppressed community that now forms the backbone of California agriculture.\u003c/p>\n\u003cp>When my jichan’s lease expires, with it will go our community’s only tangible tie to the land we nurtured and made viable, land that provided Japanese Americans with livelihoods, camaraderie and an anchor in times of great turbulence and terror. And although Rancho Palos Verdes is pursuing a historical designation with the intention of preserving that history in some way, it doesn’t feel equitable in any sense. A plaque doesn’t maintain a sense of place.\u003c/p>\n\u003cp>\u003ca href=\"https://www.seattletimes.com/life/food-drink/meet-bainbridge-islands-last-japanese-american-farmer/#:~:text=Across%20the%20island%2C%20Japanese%20American,community%20of%20Japanese%20American%20farmers.\">And this story isn’t singular\u003c/a>, which naturally leads me to a string of what-ifs: If Executive Order 9066 had never been issued, if Japanese Americans didn’t suffer devastating economic setbacks as a result, if we didn’t continue to face discriminatory laws after the war ended, would my jichan have been able to buy land? Would property ownership alone have dramatically changed California’s agricultural landscape?\u003c/p>\n\u003cp>Of course, leasing farmland is still common practice today: In 2016, the USDA reported that \u003ca href=\"https://www.ers.usda.gov/topics/farm-economy/land-use-land-value-tenure/farmland-ownership-and-tenure/#:~:text=Approximately%2039%20percent%20of%20the,over%2025%20percent%20of%20pastureland\">more than half of cropland in the U.S. is rented\u003c/a>. An inability to acquire land is one of the \u003ca href=\"https://www.agriculture.com/news/business/barriers-for-beginning-farmers\">biggest barriers to entry for new farmers\u003c/a>, and because many white families already own farmland or other land they can sell to acquire it, farming remains a predominantly white industry. Like many things in this country, the hierarchy — with white landowners at the top and immigrant laborers at the bottom — stays intact by structural design.\u003c/p>\n\u003cfigure id=\"attachment_11927399\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/rdes-farm-japanese-american-farmers-agriculture-california-history-2-nopales.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11927399\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/rdes-farm-japanese-american-farmers-agriculture-california-history-2-nopales.jpg\" alt=\"Three farmers pose in a crop of nopales.\" width=\"800\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/rdes-farm-japanese-american-farmers-agriculture-california-history-2-nopales.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/rdes-farm-japanese-american-farmers-agriculture-california-history-2-nopales-160x118.jpg 160w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Nopales were also a common crop on Hatano’s farm, which sold well to Mexican restaurants in the area. \u003ccite>(Courtesy of the Hatano family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before I started my apprenticeship, I wondered if one season of farming would be enough to fulfill my agrarian fantasy. Now, a full year out, I find myself mentally drifting back to the easy routine of last summer — of spending all day with my hands in the dirt, playing Marco Polo in the sunflower fields, driving home in silence with the windows down, smelling like sweat and tomato plants. I recognize in farming and gardening an opportunity to feed people, but also to build collective knowledge, establish traditions and honor shared history. And, eventually, I hope, to challenge the status quo.\u003c/p>\n\u003cp>One of the things I like most about farming is that you’re always building on your own work. Over time you create the kind of soil you want, and each season you review last year’s notes and make adjustments to improve yield. It’s a practice that rewards patience. In some ways, turning soil over is almost like burying our dead — cover crops and sunflower stalks become food for the next generation. Which means that long after you’ve left land behind, there’s always evidence you were there.\u003c/p>\n\u003cp>My jichan’s farm might no longer exist in name after this month, but in every plant that blooms up and down the peninsula, there will be a small piece of him and the community he belonged to. And that’s something no one can take away.\u003c/p>\n\u003c/div>\n\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "An ode to the Japanese American community that transformed Southern California into the agricultural hub it is today. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story comes to us as part of a collaboration with \u003ca href=\"https://civileats.com/\">Civil Eats\u003c/a>, a daily news source for critical thought about the American food system.\u003c/em>\u003c/p>\n\u003cp>For much of my 20s, I fantasized about working on a farm. I’d wake up with the birds and spend most of my time outdoors, learning about the basics like soil composition, pest management and tractor safety. The plants themselves would teach the more conceptual subjects, on tenacity and growth. This version of myself would be more attuned to nature and to herself — the kind of knowing that I imagined could only come from true solitude, away from technology and the white noise of everyday life. The farm would be my “Walden.”\u003c/p>\n\u003cp>I didn’t realize it then, but my daydreaming wasn’t just a coping mechanism — it was largely a yearning for connection with my Japanese heritage, and the side of my family I share it with. They’d been farming in California since immigrating, and, when I was growing up, our relationship had mostly boiled down to annual pleasantries (not including my bachan, my grandma, who attended all of my horse shows and volleyball games with a bag of salty Tengu beef jerky in hand).\u003c/p>\n\u003cfigure id=\"attachment_11927398\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/panese-american-farmers-agriculture-california-history-3-caroline-sunflowers.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11927398\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/panese-american-farmers-agriculture-california-history-3-caroline-sunflowers-800x1067.jpg\" alt=\"A woman on a farm holding cut sunflowers.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/panese-american-farmers-agriculture-california-history-3-caroline-sunflowers-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/panese-american-farmers-agriculture-california-history-3-caroline-sunflowers-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/panese-american-farmers-agriculture-california-history-3-caroline-sunflowers.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Caroline Hatano harvesting her first sunflowers at Siena Farms in Sudbury, Massachusetts, in 2021. \u003ccite>(Courtesy of Caroline Hatano)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It wasn’t until last year, on the brink of turning 30, that I finally got the nerve to hit pause on the college-to-corporate-America pipeline to work on a vegetable farm just outside Boston. At my 9-to-5 job, I’d been a senior editor at a small content agency. On the farm, I was just another Carhartt-clad apprentice plastering bandages on my tender, cracked hands. Each week, we’d seed new plants in the greenhouse, transplant and maintain seedlings in the fields, harvest as fast as we could, and pack boxes for the weekly CSA (community-supported agriculture) in an assembly line, with someone’s playlist setting the pace.\u003c/p>\n\u003cp>Before I ever even touched a harvest knife, I knew my favorite crop would be sunflowers. And sure enough, every time I worked my way down a towering row, tilting each flower’s belly down to check how many petals had popped, stumbling out of the field with as many as I could sling across each arm, infant-style, I was reminded of my jichan — my grandpa.\u003c/p>\n\u003cdiv class=\"post-simple\">\n\u003cp>Some 70 years ago, he had sized up his newly leased plot of land and \u003ca href=\"https://www.dailybreeze.com/2021/11/24/the-last-japanese-american-farm-on-the-palos-verdes-peninsula-will-close-this-is-why/\">decided to gamble on the very same flower\u003c/a>. His farm was across the country in Rancho Palos Verdes, California, a coastal Los Angeles suburb that looks like a California tourism poster, with dramatic rolling hills and cliffs to match. When he died in 2015, just a year after retiring, I had a kind of awakening, realizing I’d missed my opportunity to connect with him in any kind of meaningful adult way.\u003c/p>\n\u003cp>Not long after I wrapped up my apprenticeship and moved to Brooklyn, I learned that his farm, which had continued to operate under his longtime foreman, \u003ca href=\"https://abc7.com/rancho-palos-verdes-hatano-farm-facing-shut-down-land-use/11569082/\">would soon be forced to close\u003c/a>. Like many farmers in the U.S., he’d rented his land, and \u003ca href=\"https://www.dailybreeze.com/2021/11/24/the-last-japanese-american-farm-on-the-palos-verdes-peninsula-will-close-this-is-why/\">under pressure\u003c/a> from the National Park Service, the city of Rancho Palos Verdes was terminating the lease. It would have meant the end of an era for my family regardless, but his farm also happens to hold a larger, more significant legacy: It’s the last Japanese American-founded farm on a peninsula that was once home to hundreds of them — and on Aug. 16, 2022, it ceased to exist.\u003c/p>\n\u003cfigure id=\"attachment_11927395\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/japanese-american-farmers-agriculture-california-history-5-unloading-flowers.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11927395\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/japanese-american-farmers-agriculture-california-history-5-unloading-flowers-800x590.jpg\" alt=\"A man holding baby's breath flowers, while standing beside a white van.\" width=\"800\" height=\"590\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/japanese-american-farmers-agriculture-california-history-5-unloading-flowers-800x590.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/japanese-american-farmers-agriculture-california-history-5-unloading-flowers-1020x752.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/japanese-american-farmers-agriculture-california-history-5-unloading-flowers-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/japanese-american-farmers-agriculture-california-history-5-unloading-flowers.jpg 1075w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">James Hatano favored baby’s breath on his Rancho Palos Verdes ranch, for its slight drought resistance. \u003ccite>(Courtesy of the Hatano family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I grew up hearing stories about what the peninsula used to be like, back when it was crowded with strawberry and garbanzo bean farms run by Japanese Americans, and my dad would go pigeon hunting with the rest of the farm kids as a method of pest control. Now the area is home to a Trump golf course, a luxury coastal resort and neat rows of identical houses. That’s all thanks to the Japanese American community, which first leased the land in 1882 and transformed it from desert into \u003ca href=\"https://www.sunset.com/home-garden/brief-history-of-japanese-american-farmers-in-the-west\">fertile farmland\u003c/a>. Together, many of the farmers pioneered dry-farming techniques that are still in use today, and increasingly important as California’s climate grows increasingly arid.\u003c/p>\n\u003cp>I’ve since learned that a similar story played out up and down the West Coast, despite Japanese immigrants not being able to legally own agricultural land in California until 1952. By the 1910s, nearly two-thirds of residents with Japanese ancestry on the West Coast worked in farming. And they were incredibly successful at it — \u003ca href=\"https://www.archives.gov/files/research/japanese-americans/justice-denied/chapter-4.pdf\">the average value per acre was $280\u003c/a> for Japanese farms, versus an average $38 for all West Coast farms. In Los Angeles County, where my jichan raised sunflowers and baby’s breath, Japanese American farmers generated $16 million of the $25 million flower market business.\u003c/p>\n\u003cfigure id=\"attachment_11927394\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/220811-rancho-palos-verdes-farm-japanese-american-farmers-agriculture-california-history-4-yearbook-scan.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11927394\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/220811-rancho-palos-verdes-farm-japanese-american-farmers-agriculture-california-history-4-yearbook-scan-800x524.jpeg\" alt=\"An newsletter description about the Future Farmers of America, showing a photo of young Japanese men.\" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/220811-rancho-palos-verdes-farm-japanese-american-farmers-agriculture-california-history-4-yearbook-scan-800x524.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/220811-rancho-palos-verdes-farm-japanese-american-farmers-agriculture-california-history-4-yearbook-scan-1020x668.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/220811-rancho-palos-verdes-farm-japanese-american-farmers-agriculture-california-history-4-yearbook-scan-160x105.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/220811-rancho-palos-verdes-farm-japanese-american-farmers-agriculture-california-history-4-yearbook-scan.jpeg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">While incarcerated at the Poston, Arizona, camp, James Hatano was a member of the Future Farmers of America organization. \u003ccite>(Courtesy of the Hatano family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It makes sense, then, that in 1942, when 120,000 Japanese people on the West Coast (\u003ca href=\"https://qz.com/1201502/japanese-internment-camps-during-world-war-ii-are-a-lesson-in-the-scary-economics-of-racial-resentment/\">the vast majority of whom were American citizens\u003c/a>) were incarcerated in concentration camps following Executive Order 9066, white growers were the ones who benefited from commodity price spikes due to shortages. And it’s no coincidence that today, white landowners still control an estimated 98% of farmland in the U.S. I was reminded of this fact every time I toured another organic farm last summer — each grew the same things, used the same tools, shared the same foundational history.\u003c/p>\n\u003cp>In the subsequent years of incarceration, many Japanese Americans \u003ca href=\"https://www.sunset.com/home-garden/brief-history-of-japanese-american-farmers-in-the-west\">lost their land, had their equipment stolen, and were forced into agricultural work at camps\u003c/a>. Most never returned to their former agrarian lives. After the war, the U.S. Department of Agriculture estimates that Japanese American farm ownership, including leases, dropped to \u003ca href=\"https://www.npr.org/sections/thesalt/2017/02/19/515822019/farming-behind-barbed-wire-japanese-americans-remember-wwii-incarceration\">less than a quarter\u003c/a> of what it had been.\u003c/p>\n\u003cp>My jichan was incarcerated in the Poston, Arizona, camp as a teenager, eventually escaping by enlisting in the military. It wasn’t until the 1950s that he leased his peninsula plot from the military, \u003ca href=\"https://www.visualcapitalist.com/how-much-land-does-the-u-s-military-control-in-each-state/\">which still controls 1.7 million acres of land in California\u003c/a>. When the city of Rancho Palos Verdes was incorporated in 1973, part of the land-transfer agreement mandated that the parcel he was on be converted to recreational use.\u003c/p>\n\u003cp>Whether it was out of guilt, respect or plain-old bureaucratic disorganization, the city allowed my jichan to renew his lease anyway until 2014. That was the year he retired and transferred the lease to Martin Martinez, who had started working with him at the farm as a teenage immigrant from Mexico. Allowing his legacy to live on through Martinez would have been especially meaningful, as he represents another oppressed community that now forms the backbone of California agriculture.\u003c/p>\n\u003cp>When my jichan’s lease expires, with it will go our community’s only tangible tie to the land we nurtured and made viable, land that provided Japanese Americans with livelihoods, camaraderie and an anchor in times of great turbulence and terror. And although Rancho Palos Verdes is pursuing a historical designation with the intention of preserving that history in some way, it doesn’t feel equitable in any sense. A plaque doesn’t maintain a sense of place.\u003c/p>\n\u003cp>\u003ca href=\"https://www.seattletimes.com/life/food-drink/meet-bainbridge-islands-last-japanese-american-farmer/#:~:text=Across%20the%20island%2C%20Japanese%20American,community%20of%20Japanese%20American%20farmers.\">And this story isn’t singular\u003c/a>, which naturally leads me to a string of what-ifs: If Executive Order 9066 had never been issued, if Japanese Americans didn’t suffer devastating economic setbacks as a result, if we didn’t continue to face discriminatory laws after the war ended, would my jichan have been able to buy land? Would property ownership alone have dramatically changed California’s agricultural landscape?\u003c/p>\n\u003cp>Of course, leasing farmland is still common practice today: In 2016, the USDA reported that \u003ca href=\"https://www.ers.usda.gov/topics/farm-economy/land-use-land-value-tenure/farmland-ownership-and-tenure/#:~:text=Approximately%2039%20percent%20of%20the,over%2025%20percent%20of%20pastureland\">more than half of cropland in the U.S. is rented\u003c/a>. An inability to acquire land is one of the \u003ca href=\"https://www.agriculture.com/news/business/barriers-for-beginning-farmers\">biggest barriers to entry for new farmers\u003c/a>, and because many white families already own farmland or other land they can sell to acquire it, farming remains a predominantly white industry. Like many things in this country, the hierarchy — with white landowners at the top and immigrant laborers at the bottom — stays intact by structural design.\u003c/p>\n\u003cfigure id=\"attachment_11927399\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/rdes-farm-japanese-american-farmers-agriculture-california-history-2-nopales.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11927399\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/rdes-farm-japanese-american-farmers-agriculture-california-history-2-nopales.jpg\" alt=\"Three farmers pose in a crop of nopales.\" width=\"800\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/rdes-farm-japanese-american-farmers-agriculture-california-history-2-nopales.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/rdes-farm-japanese-american-farmers-agriculture-california-history-2-nopales-160x118.jpg 160w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Nopales were also a common crop on Hatano’s farm, which sold well to Mexican restaurants in the area. \u003ccite>(Courtesy of the Hatano family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before I started my apprenticeship, I wondered if one season of farming would be enough to fulfill my agrarian fantasy. Now, a full year out, I find myself mentally drifting back to the easy routine of last summer — of spending all day with my hands in the dirt, playing Marco Polo in the sunflower fields, driving home in silence with the windows down, smelling like sweat and tomato plants. I recognize in farming and gardening an opportunity to feed people, but also to build collective knowledge, establish traditions and honor shared history. And, eventually, I hope, to challenge the status quo.\u003c/p>\n\u003cp>One of the things I like most about farming is that you’re always building on your own work. Over time you create the kind of soil you want, and each season you review last year’s notes and make adjustments to improve yield. It’s a practice that rewards patience. In some ways, turning soil over is almost like burying our dead — cover crops and sunflower stalks become food for the next generation. Which means that long after you’ve left land behind, there’s always evidence you were there.\u003c/p>\n\u003cp>My jichan’s farm might no longer exist in name after this month, but in every plant that blooms up and down the peninsula, there will be a small piece of him and the community he belonged to. And that’s something no one can take away.\u003c/p>\n\u003c/div>\n\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cb>SF Opera Centennial Celebration\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">Nearly 100 years ago, the San Francisco Opera was born with a \u003c/span>performance of \"La Bohème\" in the city's Civic Auditorium. To celebrate its 100th birthday, the SFO has planned free activities and new performances designed to honor its past while also welcoming newcomers to the opera. We’ll hear about these plans, and about bringing the passionate love affair of \"Antony and Cleopatra\" to the stage.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Guests:\u003c/span>\u003c/p>\n\u003cul>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Elkhanah Pulitzer, \"Antony and Cleopatra\" director\u003c/span>\u003c/li>\n\u003cli style=\"font-weight: 400\">\u003cspan style=\"font-weight: 400\">Matthew Shilvock, San Francisco Opera general director\u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cb>Dreamforce, Inflation and the Gig Economy\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">MarketWatch’s Levi Sumagaysay joins us to discuss how farmers and the Federal Reserve are adjusting to continuing inflation. Also, a look at Dreamforce’s return to San Francisco and how Prop. 22 is affecting gig economy workers two years after its passage.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Something Beautiful: SFMOMA Diego Rivera Exhibit\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">San Francisco was a beloved city to renowned Mexican artist Diego Rivera. He painted his first murals in the city, and he and Frida Kahlo remarried here. San Francisco's Museum of Modern Art currently has a 150-piece collection of Rivera's work on display, focusing on his vision for the United States. This week’s Something Beautiful is the Diego Rivera exhibit at SFMOMA.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>As the \u003ca href=\"https://montereyjazzfestival.org/\">Monterey Jazz Festival\u003c/a> kicks off again this weekend, \u003ca href=\"https://www.kqed.org/californiareportmagazine\">The California Report Magazine\u003c/a> goes back in time to a chilly evening at the festival 60 years ago.\u003c/p>\n\u003cp>On Sept. 23, 1962, a groundbreaking musical premiered its first — and only — performance there.\u003c/p>\n\u003cp>[aside postID=arts_13916363 hero='https://ww2.kqed.org/app/uploads/sites/2/2022/07/DBP62-26-1-scaled-e1658457571798-1536x1202.jpeg']It was called “\u003ca href=\"https://www.kqed.org/arts/13916363/dave-and-iola-brubeck-louis-armstrong-and-the-civil-rights-musical-that-never-happened\">The Real Ambassadors\u003c/a>,” and it featured a glittering array of jazz titans, including Louis Armstrong.\u003c/p>\n\u003cp>This was the height of the civil rights movement, and the musical cast artists of different races, challenging racism and social injustice through jazz.\u003c/p>\n\u003cp>“The Real Ambassadors” was written by two Californians influential in moving jazz into the mainstream: Dave and Iola Brubeck. He grew up on a cattle ranch in Ione in Amador County; she, in Redding. They met in Stockton at College of the Pacific in 1945, and went on to become a couple and lifelong collaborators. They were living in the Oakland hills when they first came up with the idea of “The Real Ambassadors,” as a Broadway musical.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The musical gets its name from the “cultural ambassador” title bestowed on Brubeck, Armstrong and other jazz musicians the \u003ca href=\"https://eca.state.gov/jazzdiplomacy\">U.S. State Department began sending abroad in the 1950s\u003c/a> to share American music and culture.\u003c/p>\n\u003cp>Many of the Black musicians on the tour were treated as heroes abroad. But when returning home to segregation in the U.S., they were often forced to enter the venues they played through the service door. “The Real Ambassadors” questions this hypocrisy.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YtTL-Z5EyEY&t=9s\u003c/p>\n\u003cp>The Brubecks’ musical was a chance for Louis Armstrong to speak out about his deep feelings about racism and segregation in this country — feelings he rarely expressed publicly.\u003c/p>\n\u003cp>“The Real Ambassadors” never made it to Broadway as intended, and there’s no recording of its one performance at the Monterey Jazz Festival. But Columbia Records did record the bulk of the score, with lyrics that, in the \u003ca href=\"https://www.kqed.org/arts/13916363/dave-and-iola-brubeck-louis-armstrong-and-the-civil-rights-musical-that-never-happened\">words of arts critic Andrew Gilbert\u003c/a>, “confronted Jim Crow segregation and racial prejudice with radical theology and a strikingly melodic score.”\u003c/p>\n\u003cp>\u003cem>Find the play button at the top of this page to listen to this audio journey, rich with original music, rare archival recorded letters back and forth between the Brubecks and Louis Armstrong about the project, and rehearsal recordings and interviews with Dave and Iola Brubeck. The documentary duo \u003ca href=\"https://kitchensisters.org/\">The Kitchen Sisters\u003c/a>, in collaboration with \u003ca href=\"http://theechochamberpodcast.com/about-us-2/\">Brandi Howell and the Echo Chamber podcast\u003c/a>, brought us this project. Other voices include: the Brubecks’ sons, Chris Brubeck and Dan Brubeck; Keith Hatschek, author of the newly released book “The Real Ambassadors”; Ricky Riccardi, director of research collections for the Louis Armstrong House Museum; and singer/actress Yolande Bavan, the last surviving performer involved in the project.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The musical gets its name from the “cultural ambassador” title bestowed on Brubeck, Armstrong and other jazz musicians the \u003ca href=\"https://eca.state.gov/jazzdiplomacy\">U.S. State Department began sending abroad in the 1950s\u003c/a> to share American music and culture.\u003c/p>\n\u003cp>Many of the Black musicians on the tour were treated as heroes abroad. But when returning home to segregation in the U.S., they were often forced to enter the venues they played through the service door. “The Real Ambassadors” questions this hypocrisy.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YtTL-Z5EyEY'\n title='//www.youtube.com/embed/YtTL-Z5EyEY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Brubecks’ musical was a chance for Louis Armstrong to speak out about his deep feelings about racism and segregation in this country — feelings he rarely expressed publicly.\u003c/p>\n\u003cp>“The Real Ambassadors” never made it to Broadway as intended, and there’s no recording of its one performance at the Monterey Jazz Festival. But Columbia Records did record the bulk of the score, with lyrics that, in the \u003ca href=\"https://www.kqed.org/arts/13916363/dave-and-iola-brubeck-louis-armstrong-and-the-civil-rights-musical-that-never-happened\">words of arts critic Andrew Gilbert\u003c/a>, “confronted Jim Crow segregation and racial prejudice with radical theology and a strikingly melodic score.”\u003c/p>\n\u003cp>\u003cem>Find the play button at the top of this page to listen to this audio journey, rich with original music, rare archival recorded letters back and forth between the Brubecks and Louis Armstrong about the project, and rehearsal recordings and interviews with Dave and Iola Brubeck. The documentary duo \u003ca href=\"https://kitchensisters.org/\">The Kitchen Sisters\u003c/a>, in collaboration with \u003ca href=\"http://theechochamberpodcast.com/about-us-2/\">Brandi Howell and the Echo Chamber podcast\u003c/a>, brought us this project. Other voices include: the Brubecks’ sons, Chris Brubeck and Dan Brubeck; Keith Hatschek, author of the newly released book “The Real Ambassadors”; Ricky Riccardi, director of research collections for the Louis Armstrong House Museum; and singer/actress Yolande Bavan, the last surviving performer involved in the project.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "She Fought Racism in Early Hollywood. Now She'll Be the First Asian American on US Currency",
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"content": "\u003cp>Picture this: It’s the 1910s in Los Angeles, and the motion picture industry has just relocated from New York to its new home: Hollywood. A young Chinese American girl, enamored by the glitz and glamor of the big screen, starts skipping school to sneak onto film sets.\u003c/p>\n\u003cp>It’s been said that movie executives, upon noticing her, gave her the alliterative nickname “the curious Chinese child.” While still young, she came up with another name for herself — Anna May Wong — and she would go on to become Hollywood’s first Chinese American film star.\u003c/p>\n\u003cp>Wong fought the ever-present obstacle of institutional racism in the film industry to forge a remarkable career that spanned 40 years. She contended with limited lead roles, stereotypical casting and vast pay inequities between her and her white counterparts.\u003c/p>\n\u003cp>While Wong was often relegated to clichéd roles in Hollywood, she also broke innumerable barriers for Asian American actors at the time, due to the longevity of her career. She would go on to appear in over 60 films throughout her life, and her career successfully weathered the transition from silent films to “talkies.”\u003c/p>\n\u003cfigure id=\"attachment_11925840\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/GettyImages-3205581-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11925840\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/GettyImages-3205581-800x570.jpg\" alt=\"\" width=\"800\" height=\"570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-3205581-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-3205581-1020x727.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-3205581-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-3205581-1536x1094.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-3205581-2048x1459.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-3205581-1920x1368.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Anna May Wong poses with a cut rose. \u003ccite>(General Photographic Agency/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sixty years after her death, Wong’s legacy lives on in film and fashion — her iconic looks helped popularize the flapper style of the 1920s. Now her contributions will be honored by one of the most quintessentially American symbols: the quarter.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This fall, the U.S. Mint is paying tribute to Anna May Wong by releasing a coin with her image. She’s one of five American women being recognized posthumously with the honor. Already released are \u003ca href=\"https://www.littletoncoin.com/shop/US-Women-Quarters-Release-Schedule?gclid=Cj0KCQjw94WZBhDtARIsAKxWG-_6m3TmVuY-4iP6NOvdrWRNMaXAWogQP4RLZepHADuMnsjf9exmZJcaAoPhEALw_wcB\">\u003cspan style=\"font-weight: 400\">quarters honoring author Maya Angelou, astronaut Sally Ride, Cherokee Chief Wilma Mankiller and suffragette and author Nina Otero-Warren\u003c/span>\u003c/a>.\u003c/p>\n\u003cp>Anna May Wong was born Wong Liu Tsong in Chinatown, Los Angeles, in 1905. A third-generation Chinese American, she grew up helping out at her father’s laundromat on North Figueroa Street. In 1922 she appeared in one of the first Technicolor films, “The Toll of the Sea,” a silent film in which she played a character named Lotus Flower who falls in love with an American man only to be abandoned by him. At the end of the film, Lotus Flower takes her own life.\u003c/p>\n\u003cp>[pullquote size='small' citation='Anna May Wong']‘Why is it that the screen Chinese is nearly always the villain of the piece, and so cruel a villain\u003cspan style=\"font-weight: 400\"> — \u003c/span>murderous, treacherous, a snake in the grass. We are not like that.’[/pullquote]The term “lotus flower” would go on to represent the stereotype of a disposable female Asian love interest. Another stereotype, “the dragon lady,” also stemmed from one of Wong’s most prominent roles, 1931’s “Daughter of the Dragon.”\u003c/p>\n\u003cp>“The idea of the ‘lotus blossom,’ the very meek yet still sexualized Asian woman, alongside the ‘dragon lady,’ the kind of very barbarous and villainous kind of seductress — that was pretty much started by Anna May Wong,’” said Nancy Wang Yuen, sociologist and author of the book “Reel Inequality: Hollywood Actors and Racism.”\u003c/p>\n\u003cp>“Because of her unique status as one of the first and only ethnically Chinese actresses to play Chinese characters,” Yuen said, “she personified these stereotypes though she was bothered by them.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=A-vOqYC1-hg&ab_channel=ShockFilm\u003c/p>\n\u003cp>Wong was also vocal about her frustrations with Hollywood. \u003ca href=\"https://www.latimes.com/archives/la-xpm-1987-07-12-ca-3279-story.html\">\u003cspan style=\"font-weight: 400\">Constantly cast as a villain or an ill-fated love interest who would die before the end of the film\u003c/span>\u003c/a>, she worked against these limitations. In 1924, she started her own production company, Anna May Wong Productions, but it succumbed to financial woes.\u003c/p>\n\u003cp>“I was so tired of the parts I had to play,” she said in an interview with Film Weekly. “Why is it that the screen Chinese is nearly always the villain of the piece, and so cruel a villain — murderous, treacherous, a snake in the grass. We are not like that.”\u003c/p>\n\u003cp>In 1928, Wong went to Europe and starred in English, French and German roles on film and stage, playing the title role in a German operetta and impressing reviewers with her command of the language.\u003c/p>\n\u003cfigure id=\"attachment_11925838\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/GettyImages-515607792-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11925838\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/GettyImages-515607792-800x1134.jpg\" alt=\"A black-and-white photo of a Chinese-American woman standing in front of a hotel wall in Paris in 1935. She's wearing a narrow skirt with kick-pleats, a belted jacket, a cloche hat, and tasseled shoes with heels. She's holding a clutch bag and smiling with delight.\" width=\"800\" height=\"1134\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-515607792-800x1134.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-515607792-1020x1446.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-515607792-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-515607792-1084x1536.jpg 1084w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-515607792-1445x2048.jpg 1445w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-515607792-1920x2721.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-515607792-scaled.jpg 1806w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Anna May Wong, popular Chinese American film star, pictured in front of the Hôtel de Crillon in Paris, shortly after her arrival at the French capital in 1935. \u003ccite>(Bettmann Collection via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She said publicly that she left America because she died so often,” Yuen said. “And so she went to Europe because there she was able to star in films where she didn’t die.”\u003c/p>\n\u003cp>Wong maintained her ties to the U.S., and starred in Broadway productions between films. Her disappointment with Hollywood came to a head in 1936 when MGM passed over her for the Chinese lead role in the film adaptation of Pearl S. Buck’s “The Good Earth.” The studio cast German actress Luise Rainer instead and offered Wong the role of the villain.\u003c/p>\n\u003cp>She rejected the role and is quoted as saying, \u003ca href=\"https://www.latimes.com/archives/la-xpm-1987-07-12-ca-3279-story.html\">“You’re asking me — with Chinese blood — to do the only unsympathetic role in the picture, featuring an all-American cast portraying Chinese characters?”\u003c/a>\u003c/p>\n\u003cp>Wong decided to visit China for the first time, creating a documentary of her travels entitled “My China Film.” In the film, she visits her father at their ancestral home and is surrounded by crowds of people who seem thrilled to be in her company. “We go to the village and people are curious and come from miles around to see what a movie star looks like,” she says in the film.\u003c/p>\n\u003cp>“She became an independent filmmaker and a memoirist of her own life,” said Yuen. “All this is pretty revolutionary.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9mDJDt2vD7w\u003c/p>\n\u003cp>In recent years, AAPI actors have made significant strides in Hollywood, but there remains a long way to go. Asian women especially are still vastly underrepresented as leads.\u003c/p>\n\u003cp>Yuen found this in her research analyzing the top films from 2007 to 2019. “In the top 100 films, there were only six leads or co-leads that were played by Asian women,” she says.\u003c/p>\n\u003cp>Still, the success of actresses like Gemma Chan, who will play Wong in an upcoming biopic and who recently played a superhero in Marvel’s “Eternals,” is a reminder of the trailblazing impact of Anna May Wong.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I think Anna May Wong would be very proud to see an Asian woman superhero, because I am sure that she would love to play one,” said Yuen. “She saw herself that way, as able to play anything.”\u003c/p>\n\n",
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"title": "She Fought Racism in Early Hollywood. Now She'll Be the First Asian American on US Currency | KQED",
"description": "Picture this: It’s the 1910s in Los Angeles, and the motion picture industry has just relocated from New York to its new home: Hollywood. A young Chinese American girl, enamored by the glitz and glamor of the big screen, starts skipping school to sneak onto film sets. It’s been said that movie executives, upon noticing",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Picture this: It’s the 1910s in Los Angeles, and the motion picture industry has just relocated from New York to its new home: Hollywood. A young Chinese American girl, enamored by the glitz and glamor of the big screen, starts skipping school to sneak onto film sets.\u003c/p>\n\u003cp>It’s been said that movie executives, upon noticing her, gave her the alliterative nickname “the curious Chinese child.” While still young, she came up with another name for herself — Anna May Wong — and she would go on to become Hollywood’s first Chinese American film star.\u003c/p>\n\u003cp>Wong fought the ever-present obstacle of institutional racism in the film industry to forge a remarkable career that spanned 40 years. She contended with limited lead roles, stereotypical casting and vast pay inequities between her and her white counterparts.\u003c/p>\n\u003cp>While Wong was often relegated to clichéd roles in Hollywood, she also broke innumerable barriers for Asian American actors at the time, due to the longevity of her career. She would go on to appear in over 60 films throughout her life, and her career successfully weathered the transition from silent films to “talkies.”\u003c/p>\n\u003cfigure id=\"attachment_11925840\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/GettyImages-3205581-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11925840\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/GettyImages-3205581-800x570.jpg\" alt=\"\" width=\"800\" height=\"570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-3205581-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-3205581-1020x727.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-3205581-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-3205581-1536x1094.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-3205581-2048x1459.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-3205581-1920x1368.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Anna May Wong poses with a cut rose. \u003ccite>(General Photographic Agency/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sixty years after her death, Wong’s legacy lives on in film and fashion — her iconic looks helped popularize the flapper style of the 1920s. Now her contributions will be honored by one of the most quintessentially American symbols: the quarter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This fall, the U.S. Mint is paying tribute to Anna May Wong by releasing a coin with her image. She’s one of five American women being recognized posthumously with the honor. Already released are \u003ca href=\"https://www.littletoncoin.com/shop/US-Women-Quarters-Release-Schedule?gclid=Cj0KCQjw94WZBhDtARIsAKxWG-_6m3TmVuY-4iP6NOvdrWRNMaXAWogQP4RLZepHADuMnsjf9exmZJcaAoPhEALw_wcB\">\u003cspan style=\"font-weight: 400\">quarters honoring author Maya Angelou, astronaut Sally Ride, Cherokee Chief Wilma Mankiller and suffragette and author Nina Otero-Warren\u003c/span>\u003c/a>.\u003c/p>\n\u003cp>Anna May Wong was born Wong Liu Tsong in Chinatown, Los Angeles, in 1905. A third-generation Chinese American, she grew up helping out at her father’s laundromat on North Figueroa Street. In 1922 she appeared in one of the first Technicolor films, “The Toll of the Sea,” a silent film in which she played a character named Lotus Flower who falls in love with an American man only to be abandoned by him. At the end of the film, Lotus Flower takes her own life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "‘Why is it that the screen Chinese is nearly always the villain of the piece, and so cruel a villain\u003cspan style=\"font-weight: 400\"> — \u003c/span>murderous, treacherous, a snake in the grass. We are not like that.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The term “lotus flower” would go on to represent the stereotype of a disposable female Asian love interest. Another stereotype, “the dragon lady,” also stemmed from one of Wong’s most prominent roles, 1931’s “Daughter of the Dragon.”\u003c/p>\n\u003cp>“The idea of the ‘lotus blossom,’ the very meek yet still sexualized Asian woman, alongside the ‘dragon lady,’ the kind of very barbarous and villainous kind of seductress — that was pretty much started by Anna May Wong,’” said Nancy Wang Yuen, sociologist and author of the book “Reel Inequality: Hollywood Actors and Racism.”\u003c/p>\n\u003cp>“Because of her unique status as one of the first and only ethnically Chinese actresses to play Chinese characters,” Yuen said, “she personified these stereotypes though she was bothered by them.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/A-vOqYC1-hg'\n title='//www.youtube.com/embed/A-vOqYC1-hg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Wong was also vocal about her frustrations with Hollywood. \u003ca href=\"https://www.latimes.com/archives/la-xpm-1987-07-12-ca-3279-story.html\">\u003cspan style=\"font-weight: 400\">Constantly cast as a villain or an ill-fated love interest who would die before the end of the film\u003c/span>\u003c/a>, she worked against these limitations. In 1924, she started her own production company, Anna May Wong Productions, but it succumbed to financial woes.\u003c/p>\n\u003cp>“I was so tired of the parts I had to play,” she said in an interview with Film Weekly. “Why is it that the screen Chinese is nearly always the villain of the piece, and so cruel a villain — murderous, treacherous, a snake in the grass. We are not like that.”\u003c/p>\n\u003cp>In 1928, Wong went to Europe and starred in English, French and German roles on film and stage, playing the title role in a German operetta and impressing reviewers with her command of the language.\u003c/p>\n\u003cfigure id=\"attachment_11925838\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/GettyImages-515607792-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11925838\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/GettyImages-515607792-800x1134.jpg\" alt=\"A black-and-white photo of a Chinese-American woman standing in front of a hotel wall in Paris in 1935. She's wearing a narrow skirt with kick-pleats, a belted jacket, a cloche hat, and tasseled shoes with heels. She's holding a clutch bag and smiling with delight.\" width=\"800\" height=\"1134\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-515607792-800x1134.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-515607792-1020x1446.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-515607792-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-515607792-1084x1536.jpg 1084w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-515607792-1445x2048.jpg 1445w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-515607792-1920x2721.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2022/09/GettyImages-515607792-scaled.jpg 1806w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Anna May Wong, popular Chinese American film star, pictured in front of the Hôtel de Crillon in Paris, shortly after her arrival at the French capital in 1935. \u003ccite>(Bettmann Collection via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She said publicly that she left America because she died so often,” Yuen said. “And so she went to Europe because there she was able to star in films where she didn’t die.”\u003c/p>\n\u003cp>Wong maintained her ties to the U.S., and starred in Broadway productions between films. Her disappointment with Hollywood came to a head in 1936 when MGM passed over her for the Chinese lead role in the film adaptation of Pearl S. Buck’s “The Good Earth.” The studio cast German actress Luise Rainer instead and offered Wong the role of the villain.\u003c/p>\n\u003cp>She rejected the role and is quoted as saying, \u003ca href=\"https://www.latimes.com/archives/la-xpm-1987-07-12-ca-3279-story.html\">“You’re asking me — with Chinese blood — to do the only unsympathetic role in the picture, featuring an all-American cast portraying Chinese characters?”\u003c/a>\u003c/p>\n\u003cp>Wong decided to visit China for the first time, creating a documentary of her travels entitled “My China Film.” In the film, she visits her father at their ancestral home and is surrounded by crowds of people who seem thrilled to be in her company. “We go to the village and people are curious and come from miles around to see what a movie star looks like,” she says in the film.\u003c/p>\n\u003cp>“She became an independent filmmaker and a memoirist of her own life,” said Yuen. “All this is pretty revolutionary.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/9mDJDt2vD7w'\n title='//www.youtube.com/embed/9mDJDt2vD7w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In recent years, AAPI actors have made significant strides in Hollywood, but there remains a long way to go. Asian women especially are still vastly underrepresented as leads.\u003c/p>\n\u003cp>Yuen found this in her research analyzing the top films from 2007 to 2019. “In the top 100 films, there were only six leads or co-leads that were played by Asian women,” she says.\u003c/p>\n\u003cp>Still, the success of actresses like Gemma Chan, who will play Wong in an upcoming biopic and who recently played a superhero in Marvel’s “Eternals,” is a reminder of the trailblazing impact of Anna May Wong.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Jennifer Siebel Newsom\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">We talk with California’s first partner and documentary filmmaker Jennifer Siebel Newsom, whose latest film, “Fair Play,” examines the division of labor in the home. We’ll talk about her work, her life and how she and her husband, Gov. Gavin Newsom, handle the chores in their household.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Something Beautiful: Crissy Field\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">We visit one of Newsom’s favorite places in the Bay Area; Crissy Field was a former military airfield that has been converted since 2001 into a national park. Today you’ll find people picnicking and walking dogs at the beach with scenic views of the Bay and the Golden Gate Bridge.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The \u003ca href=\"https://www.smithsonianmag.com/museumday/search/?q=\">Smithsonian Magazine’s annual Museum Day is happening this Saturday, September 17\u003c/a>.\u003c/p>\n\u003cp>This means that you can get free entry to hundreds of participating museums across the country — including many in the Bay Area and beyond.\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>Jump straight to: \u003ca href=\"#museumsnearme\">Which museums near me are participating in Museum Day?\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003cp>Want to get free entry to a museum near you? All you need to do is \u003ca href=\"https://www.smithsonianmag.com/museumday/search/?q=&states=US::CA&\">download a Museum Day ticket for the museum you want to visit\u003c/a> from the Museum Day website, and present it to the participating museum on Saturday.\u003c/p>\n\u003cp>Be aware that you can download one ticket for two people, per email address — but you can only download one ticket to one museum for Museum Day, and once you select \"generate ticket,\" you won't be able to change your museum selection. The Smithsonian Magazine says that the offer is for United States residents only. Be aware that some museums may already have sold out of free Museum Day tickets.\u003c/p>\n\u003cp>For folks in the wider Bay Area looking to visit a museum for free this Saturday, keep reading for our list of just some of the participating museums. You can also see a full list of \u003ca href=\"https://www.smithsonianmag.com/museumday/search/?q=&states=US::CA&\">every museum in California that's participating in Museum Day\u003c/a>.\u003c/p>\n\u003cp>And if you miss out on Museum Day this year, remember: You can still get free or low-cost entry to many museums all year round if you use an EBT card. \u003ca href=\"https://www.kqed.org/news/11915329/how-to-get-free-or-low-cost-museum-entry-this-summer-with-your-ebt-card\">Read more about how to get reduced-cost museum tickets if you use CalFresh.\u003c/a>\u003c/p>\n\u003ch3>\u003ca id=\"museumsnearme\">\u003c/a>San Francisco\u003c/h3>\n\u003ch2>Museum of Craft and Design\u003c/h2>\n\u003cp>Entrance to the \u003ca href=\"https://sfmcd.org/\">Museum of Craft and Design\u003c/a>, open every day except Mondays and Tuesdays, in San Francisco is usually $10 for general admission. The museum offers free admission to members, children under 12, and active-duty military personnel (including National Guard). With the Museum Day ticket, you and another guest can get in for free this Saturday. \u003ca href=\"https://www.smithsonianmag.com/museumday/museum-day-2022/museum-of-craft-and-design/tickets/\">Download your Museum Day ticket to the Museum of Craft and Design here.\u003c/a>[aside postID=news_11915329 hero='https://ww2.kqed.org/app/uploads/sites/10/2022/05/RS47523_009_SanFrancisco_SkyStarWheel_03042021-qut-672x372.jpg']\u003c/p>\n\u003ch2>American Bookbinders Museum\u003c/h2>\n\u003cp>The \u003ca href=\"https://bookbindersmuseum.org/visit/\">American Bookbinders Museum\u003c/a> is regularly open Tuesday through Saturday, and entry is normally $15 for adults, $12 for seniors (62+) and youths (10-17), with children under 10 entering for free. \u003ca href=\"https://www.smithsonianmag.com/museumday/museum-day-2022/american-bookbinders-museum/tickets/\">Download your free Museum Day ticket for two for the American Bookbinders Museum.\u003c/a>\u003c/p>\n\u003cp>\u003cimg class=\"size-full wp-image-11925896\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/pexels-scott-webb-111234-scaled.jpg\" alt=\"An image of a multicolored museum sign on a grassy surface during the day.\" width=\"2560\" height=\"1707\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/pexels-scott-webb-111234-scaled.jpg 2560w, https://ww2.kqed.org/app/uploads/sites/10/2022/09/pexels-scott-webb-111234-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/09/pexels-scott-webb-111234-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/09/pexels-scott-webb-111234-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/09/pexels-scott-webb-111234-1536x1024.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2022/09/pexels-scott-webb-111234-2048x1365.jpg 2048w, https://ww2.kqed.org/app/uploads/sites/10/2022/09/pexels-scott-webb-111234-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/p>\n\u003ch3>South Bay\u003c/h3>\n\u003ch2>San José Museum of Art\u003c/h2>\n\u003cp>General admission to the \u003ca href=\"https://sjmusart.org/visit\">San José Museum of Art\u003c/a> is $10 and free for members, teachers, college students, and youth and children. They’re open from Thursday through Saturday and are located on South Market Street in San José. \u003ca href=\"https://www.smithsonianmag.com/museumday/venues/museum/san-jose-museum-of-art/\">Download your free Museum Day ticket to visit the San José Museum of Art this Saturday. \u003c/a>\u003c/p>\n\u003ch2>New Museum Los Gatos\u003c/h2>\n\u003cp>If you’re looking for another museum to visit for free in the South Bay this Saturday, check out the \u003ca href=\"https://www.numulosgatos.org/\">New Museum Los Gatos\u003c/a>. General admission is $10 and free for Los Gatos residents, youth under 18 years old, active-duty military personnel, and more. If you don’t fall within these categories, you can enjoy a free visit this Saturday through the \u003ca href=\"https://www.smithsonianmag.com/museumday/venues/museum/new-museum-los-gatos/\">Museum Day ticket for the New Museum Los Gatos, which can be downloaded here.\u003c/a>\u003c/p>\n\u003ch3>North Bay\u003c/h3>\n\u003ch2>The di Rosa Center for Contemporary Art\u003c/h2>\n\u003cp>The \u003ca href=\"https://www.dirosaart.org/\">di Rosa Center for Contemporary Art\u003c/a> is located on 217 acres nestled between Napa and Sonoma. So if you happen to be in the area, why not try visiting a museum? General admission is usually $20, but this Saturday, you can visit for free. \u003ca href=\"https://dirosaart.secure.force.com/ticket/?#/events/calendar\">Head over to di Rosa's website to get a free ticket\u003c/a>, or \u003ca href=\"https://www.smithsonianmag.com/museumday/venues/museum/di-rosa-center-for-contemporary-art-8WB/\">download a ticket to di Rosa directly from the Smithsonian Magazine website\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003ch3>Sacramento\u003c/h3>\n\u003ch2>California Automobile Museum\u003c/h2>\n\u003cp>The \u003ca href=\"https://www.calautomuseum.org/\">California Automobile Museum\u003c/a> in Sacramento has over 130 vehicles in its exhibits, and they’re open Wednesday through Monday. General admission is $10 and children under 5 can get in for free. This Saturday, you and another guest can use the Museum Day ticket to enter for free. \u003ca href=\"https://www.smithsonianmag.com/museumday/venues/museum/california-automobile-museum-54U/\">Download your ticket to the California Automobile Museum here.\u003c/a>\u003c/p>\n\u003ch2>California State Railroad Museum\u003c/h2>\n\u003cp>Learn the history of the California railways at the California State Railroad Museum in Sacramento. General admission tickets are usually $12 and free for children under 5 and members of the museum. \u003ca href=\"https://www.smithsonianmag.com/museumday/museum-day-2022/california-state-railroad-museum/tickets/\">Download a Museum Day ticket and enjoy free admission for you and a guest to the California State Railroad Museum this Saturday.\u003c/a>\u003c/p>\n\u003ch2>Sacramento History Museum\u003c/h2>\n\u003cp>The \u003ca href=\"http://sachistorymuseum.org/visit/\">Sacramento History Museum\u003c/a> is located near the beautiful Sacramento River, and near the California State Railroad Museum. The museum is open seven days a week. General admission is $10, and children 5 and below can enter for free. \u003ca href=\"https://www.smithsonianmag.com/museumday/museum-day-2022/sacramento-history-museum/tickets/\">Download your free Museum Day ticket for free entrance to the Sacramento History Museum this Saturday.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.smithsonianmag.com/museumday/search/?q=\">Smithsonian Magazine’s annual Museum Day is happening this Saturday, September 17\u003c/a>.\u003c/p>\n\u003cp>This means that you can get free entry to hundreds of participating museums across the country — including many in the Bay Area and beyond.\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>Jump straight to: \u003ca href=\"#museumsnearme\">Which museums near me are participating in Museum Day?\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003cp>Want to get free entry to a museum near you? All you need to do is \u003ca href=\"https://www.smithsonianmag.com/museumday/search/?q=&states=US::CA&\">download a Museum Day ticket for the museum you want to visit\u003c/a> from the Museum Day website, and present it to the participating museum on Saturday.\u003c/p>\n\u003cp>Be aware that you can download one ticket for two people, per email address — but you can only download one ticket to one museum for Museum Day, and once you select \"generate ticket,\" you won't be able to change your museum selection. The Smithsonian Magazine says that the offer is for United States residents only. Be aware that some museums may already have sold out of free Museum Day tickets.\u003c/p>\n\u003cp>For folks in the wider Bay Area looking to visit a museum for free this Saturday, keep reading for our list of just some of the participating museums. You can also see a full list of \u003ca href=\"https://www.smithsonianmag.com/museumday/search/?q=&states=US::CA&\">every museum in California that's participating in Museum Day\u003c/a>.\u003c/p>\n\u003cp>And if you miss out on Museum Day this year, remember: You can still get free or low-cost entry to many museums all year round if you use an EBT card. \u003ca href=\"https://www.kqed.org/news/11915329/how-to-get-free-or-low-cost-museum-entry-this-summer-with-your-ebt-card\">Read more about how to get reduced-cost museum tickets if you use CalFresh.\u003c/a>\u003c/p>\n\u003ch3>\u003ca id=\"museumsnearme\">\u003c/a>San Francisco\u003c/h3>\n\u003ch2>Museum of Craft and Design\u003c/h2>\n\u003cp>Entrance to the \u003ca href=\"https://sfmcd.org/\">Museum of Craft and Design\u003c/a>, open every day except Mondays and Tuesdays, in San Francisco is usually $10 for general admission. The museum offers free admission to members, children under 12, and active-duty military personnel (including National Guard). With the Museum Day ticket, you and another guest can get in for free this Saturday. \u003ca href=\"https://www.smithsonianmag.com/museumday/museum-day-2022/museum-of-craft-and-design/tickets/\">Download your Museum Day ticket to the Museum of Craft and Design here.\u003c/a>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>American Bookbinders Museum\u003c/h2>\n\u003cp>The \u003ca href=\"https://bookbindersmuseum.org/visit/\">American Bookbinders Museum\u003c/a> is regularly open Tuesday through Saturday, and entry is normally $15 for adults, $12 for seniors (62+) and youths (10-17), with children under 10 entering for free. \u003ca href=\"https://www.smithsonianmag.com/museumday/museum-day-2022/american-bookbinders-museum/tickets/\">Download your free Museum Day ticket for two for the American Bookbinders Museum.\u003c/a>\u003c/p>\n\u003cp>\u003cimg class=\"size-full wp-image-11925896\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/pexels-scott-webb-111234-scaled.jpg\" alt=\"An image of a multicolored museum sign on a grassy surface during the day.\" width=\"2560\" height=\"1707\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2022/09/pexels-scott-webb-111234-scaled.jpg 2560w, https://ww2.kqed.org/app/uploads/sites/10/2022/09/pexels-scott-webb-111234-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2022/09/pexels-scott-webb-111234-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2022/09/pexels-scott-webb-111234-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2022/09/pexels-scott-webb-111234-1536x1024.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2022/09/pexels-scott-webb-111234-2048x1365.jpg 2048w, https://ww2.kqed.org/app/uploads/sites/10/2022/09/pexels-scott-webb-111234-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003c/p>\n\u003ch3>South Bay\u003c/h3>\n\u003ch2>San José Museum of Art\u003c/h2>\n\u003cp>General admission to the \u003ca href=\"https://sjmusart.org/visit\">San José Museum of Art\u003c/a> is $10 and free for members, teachers, college students, and youth and children. They’re open from Thursday through Saturday and are located on South Market Street in San José. \u003ca href=\"https://www.smithsonianmag.com/museumday/venues/museum/san-jose-museum-of-art/\">Download your free Museum Day ticket to visit the San José Museum of Art this Saturday. \u003c/a>\u003c/p>\n\u003ch2>New Museum Los Gatos\u003c/h2>\n\u003cp>If you’re looking for another museum to visit for free in the South Bay this Saturday, check out the \u003ca href=\"https://www.numulosgatos.org/\">New Museum Los Gatos\u003c/a>. General admission is $10 and free for Los Gatos residents, youth under 18 years old, active-duty military personnel, and more. If you don’t fall within these categories, you can enjoy a free visit this Saturday through the \u003ca href=\"https://www.smithsonianmag.com/museumday/venues/museum/new-museum-los-gatos/\">Museum Day ticket for the New Museum Los Gatos, which can be downloaded here.\u003c/a>\u003c/p>\n\u003ch3>North Bay\u003c/h3>\n\u003ch2>The di Rosa Center for Contemporary Art\u003c/h2>\n\u003cp>The \u003ca href=\"https://www.dirosaart.org/\">di Rosa Center for Contemporary Art\u003c/a> is located on 217 acres nestled between Napa and Sonoma. So if you happen to be in the area, why not try visiting a museum? General admission is usually $20, but this Saturday, you can visit for free. \u003ca href=\"https://dirosaart.secure.force.com/ticket/?#/events/calendar\">Head over to di Rosa's website to get a free ticket\u003c/a>, or \u003ca href=\"https://www.smithsonianmag.com/museumday/venues/museum/di-rosa-center-for-contemporary-art-8WB/\">download a ticket to di Rosa directly from the Smithsonian Magazine website\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch3>Sacramento\u003c/h3>\n\u003ch2>California Automobile Museum\u003c/h2>\n\u003cp>The \u003ca href=\"https://www.calautomuseum.org/\">California Automobile Museum\u003c/a> in Sacramento has over 130 vehicles in its exhibits, and they’re open Wednesday through Monday. General admission is $10 and children under 5 can get in for free. This Saturday, you and another guest can use the Museum Day ticket to enter for free. \u003ca href=\"https://www.smithsonianmag.com/museumday/venues/museum/california-automobile-museum-54U/\">Download your ticket to the California Automobile Museum here.\u003c/a>\u003c/p>\n\u003ch2>California State Railroad Museum\u003c/h2>\n\u003cp>Learn the history of the California railways at the California State Railroad Museum in Sacramento. General admission tickets are usually $12 and free for children under 5 and members of the museum. \u003ca href=\"https://www.smithsonianmag.com/museumday/museum-day-2022/california-state-railroad-museum/tickets/\">Download a Museum Day ticket and enjoy free admission for you and a guest to the California State Railroad Museum this Saturday.\u003c/a>\u003c/p>\n\u003ch2>Sacramento History Museum\u003c/h2>\n\u003cp>The \u003ca href=\"http://sachistorymuseum.org/visit/\">Sacramento History Museum\u003c/a> is located near the beautiful Sacramento River, and near the California State Railroad Museum. The museum is open seven days a week. General admission is $10, and children 5 and below can enter for free. \u003ca href=\"https://www.smithsonianmag.com/museumday/museum-day-2022/sacramento-history-museum/tickets/\">Download your free Museum Day ticket for free entrance to the Sacramento History Museum this Saturday.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"disqusTitle": "US Poet Laureate and Sonoma Writer Ada Limón on Writing",
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"content": "\u003cp>As the 24th poet laureate of the United States, Ada Limón is an ambassador to the world of beautiful words. Her poems use clear, everyday language. But they have as much literary heft as they do accessibility. Limón has written a half dozen books of poetry, and her most recent work is \"\u003ca href=\"https://www.npr.org/2022/05/09/1096005629/ada-limon-hurting-kind-review-poetry\" target=\"_blank\" rel=\"noopener noreferrer\">The Hurting Kind\u003c/a>.\" She's also the winner of the National Book Critics Circle Award for poetry and many other accolades.\u003c/p>\n\u003cp>Limón was born in Sonoma County, and now lives among the hills and horses of Kentucky. \u003ca href=\"https://www.kqed.org/forum/2010101890341/u-s-poet-laureate-ada-limon-on-elevating-and-promoting-poetry-when-america-needs-healing\" target=\"_blank\" rel=\"noopener noreferrer\">KQED Forum host Alexis Madrigal spoke with Limón\u003c/a> about her new post as poet laureate and how to read a poem.\u003c/p>\n\u003cp>\u003cem>The following excerpts have been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>ALEXIS MADRIGAL: In a 2008 essay, you were living in New York and pondering regional poetry and asking if you were, in fact, a poet of Sonoma. And then you said, \"I think I would claim myself a California poet. This definition is too tight, and it smells like old wine.\" Do you see yourself now as a Sonoma poet? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>ADA LIMÓN:\u003c/strong> To be honest, I think that the place I feel the most at home is in Sonoma. It does feel like a place where I deeply belong. But I also feel like there is a part of me that now that I've lived so many different places ... I do feel like there's this sort of sense that I belong to America. I think the landscape of the United States is something that I really feel connected to. And now that I've lived so many places in it, I feel like I can speak to that. But, Sonoma definitely still feels like home.\u003c/p>\n\u003cp>\u003cstrong>Do you feel coming from these different places, living in these different places, that contrasts stick out more?\u003c/strong>\u003c/p>\n\u003cp>I think that one of the things that I really love about being in different places, even just traveling, is that idea of getting to know the natural elements in each place. When I first arrived in Kentucky, I was really hoping to move back to California permanently, and then I fell madly in love and married my husband and I live in Kentucky and have learned to just love it.\u003c/p>\n\u003cp>But I think the way that I know to love something, or how I can figure that out, is to explore the natural landscape around me. A lot of the poems in the book are about me really figuring out the landscape around me and looking at the old barns and the incredible horse pastures everywhere. That was important to me to figure out — how to love a place, to name the plants and animals, that I'm surrounded by.\u003c/p>\n\u003cp>\u003cstrong>Let's have you read \"\u003ca href=\"https://www.oprahdaily.com/entertainment/books/a39654803/ada-limon-hurting-kind-poem-video/\" target=\"_blank\" rel=\"noopener noreferrer\">A Good Story\u003c/a>.\" This is from your most recent collection.\u003c/strong>\u003c/p>\n\u003cp>It's a poem that began for me at a place where I feel like there were so many poems that were dealing with trauma. And I think it's incredibly important that we write and read poems that are hard and that deal with the hard things. But I also really wanted to write about tenderness and be grateful for those moments that tenderness was offered to me. This is where that poem came from.\u003c/p>\n\u003cp>\u003cstrong>It made me think of a time my sister's ex-husband silently made me a bowl of macaroni and cheese, while I cried on my sister's lap. What is the literary infrastructure that makes that pack such a punch?\u003c/strong>\u003c/p>\n\u003cp>Thank you for that. The poem is in couplets and there are actually long lines in the poem that sort of allow for it to move a little faster.\u003c/p>\n\u003cp>The line length of a poem really determines the rhythm and speed of how the poem is read. A shorter line is going to be much slower if you think sort of Emily Dickinson, that's going to read much slower because it's got the breath in it.\u003c/p>\n\u003cp>That slight pause after the line break is going to make you read it slower and then a longer line is going to read a little faster.\u003c/p>\n\u003cp>You can think of Whitman and then sort of the mid-length line is more for conversation. You can think of Shakespeare. It's meant to be read a little fast, but then at the same time it's in couplets. So you're going to break after each of those couplets, which gives you that little moment of pause.\u003c/p>\n\u003cp>It has that sort of rhythm that goes back and forth.\u003c/p>\n\u003cp>The last line is then on its own, which kind of allows for it to stand out a little bit.\u003c/p>\n\u003cp>The other part of this poem is that it's dealing with time.\u003c/p>\n\u003cp>I had a student ask me, \"How is it that you can go from the present moment into the past or into the future so easily in your poems?\" And I said, well, this is going to sound weird, but I think time doesn't exist. I say my stepfather told me a story. And then he does this thing. But at the same time, it does feel like it's happening in the present moment because it begins with a hard day. And what does the hard day require? The hard day requires a good story and sometimes that good story isn't something that's happening now. But maybe it's a memory like you were talking about. The person that fed you macaroni and cheese.\u003cbr>\n[pullquote size=\"medium\" align=\"right\" citation=\"Ada Limón, 24th US poet laureate\"]'There's a real danger in living without feeling and swallowing everything to become sort of courageous and resilient ... sometimes I think we also need to be a mess.'[/pullquote]\u003c/p>\n\u003cp>\u003cstrong>We praise people so much for courage and bravery and strength and sometimes not for tenderness. In \"The Hurting Kind,\" how do you think about celebrating the ability to hold grief or the ability to hurt? How does one actually do that?\u003c/strong>\u003c/p>\n\u003cp>I've been thinking about this a lot, and I feel like oftentimes when we come to a poem, it's not even so much that we have to feel a certain thing, right? You don't have to feel exactly what I want you to feel after a poem I've read or a poem I've given you by somebody else.\u003c/p>\n\u003cp>Maybe the important thing is just that you feel period.\u003c/p>\n\u003cp>And maybe that is something that we need to tap into, because I know for me, this is true. We've just become so numb to so much because there's just so much chaos and crisis in the world that it feels like every one of us is being shoved from one emergency to the next.\u003c/p>\n\u003cp>We have to compartmentalize, and of course, we have to go numb a little bit. But I think that there is a real danger in that. There's a real danger in living without feeling and swallowing everything to become sort of courageous and resilient. And listen, I love the word \"resilience\" and I want to be resilient. But sometimes I think we also need to be a mess.[pullquote size=\"medium\" align=\"left\" citation=\"Ada Limón, 24th US poet laureate\"]'There is power in that moment when you break down, that moment when you feel all the feelings and it feels like too much.'[/pullquote]We need to feel and maybe have someone give us macaroni and cheese while we cry. I think those are really important moments. It's what makes us human. It also is what makes us able to find strength.\u003c/p>\n\u003cp>There is power in that moment when you break down, that moment when you feel all the feelings and it feels like too much. That's important because that's where we get the courage to go on, and maybe pursue the action that we need to see in the world. But I do think we need to make space for breathing, for falling apart, for crying. And for grieving those that we lost, because we just, we move on so quickly.\u003c/p>\n\u003cp>We're asked to move on so quickly. And I think sometimes we aren't supposed to.\u003c/p>\n\u003cp>\u003cstrong>It feels like the river you grew up by, the creek you grew up by in Sonoma, it raised you in some way, thinking about the poem you wrote about the raccoon decomposing in the water with its little hand eventually turning to bone.\u003c/strong>\u003c/p>\n\u003cp>That's the Calabazas Creek. That creek is really important to me. Someone asked me one time where my poems come from and that creek was my first thought: \"It's the Calabazas Creek.\" There's something about that area.\u003c/p>\n\u003cp>Sometimes with poetry, we're looking for the voice under the voice. It's not just the voice, but the thing underneath it. And that creek was underneath our life. The cars were going from the job and school and all of that. You could feel the rush. But there it was quiet. It was small. There were the little crawdads and little minnows. And there was all of this life happening. But it was like a secret life. And I think oftentimes my poems begin there.\u003c/p>\n\u003cp>\u003cstrong>In this new role as poet laureate, do you feel like you have to perform yourself and perform yourself in certain ways? How do you feel about being the first Latina poet laureate?\u003c/strong>\u003c/p>\n\u003cp>That's a great question. It's easy to feel that way, and I think that people will ask that of me. But I really hope I stay true to me and who I am as an authentic human being, full of complex emotions and identities and desires and needs and poems. If I want to perform anything, it's a poem and it's not an identity.\u003c/p>\n\u003cp>\u003cstrong>Through your life you've had a few different physical conditions that have conditioned you to think about pain in certain ways. How has that infused into your identity, to have been dealing with that since you were a child?\u003c/strong>\u003c/p>\n\u003cp>I have pretty intense scoliosis. And so, in fact, I just had an adjustment yesterday and I deal with it all the time. It is something that causes me quite a bit of pain. And I think a lot about mobility issues.\u003c/p>\n\u003cp>I'm trying to avoid some of the phrasing that makes me really uncomfortable. People will say, \"Oh, you were in chronic pain.\" And I'm like, the only problem with the word \"chronic pain\" is that I would like to leave space for it not to be chronic. I'd also like to leave space for maybe someday it will all magically disappear. I think a lot about language, and the language of the body, but also that sometimes when you practice meditation, which I do, a lot of the wonderful teachers and guides will say, \"Now return to the body.\" And I often think — what if the body is really not a happy place right now?[aside tag=\"poetry, writing\" label=\"More Related Stories\"]Sometimes the most free I feel is when I'm in the mind, and not in the body. That's an interesting thing for me to explore in my own writing.\u003c/p>\n\u003cp>\u003cstrong>I do love that in your poems, your garden is growing and changing. That has been a real salve for you — the world may have issues, but on your plot of land, things are beautiful and green.\u003c/strong>\u003c/p>\n\u003cp>Finding some refuge in the natural world is really essential to remembering that I am part of nature as well, and that even my own mortality is linked to the natural world and the cycles of things. It feels to me like nature is one of our greatest teachers, and if you're paying attention, you get all of those incredible lessons right there up front. I'm always trying to figure out my purpose, what is the point to all of the big questions that artists and human beings have been asking since the dawn of time? And I think sometimes the answers are there, just watching the natural world. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the 24th poet laureate of the United States, Ada Limón is an ambassador to the world of beautiful words. Her poems use clear, everyday language. But they have as much literary heft as they do accessibility. Limón has written a half dozen books of poetry, and her most recent work is \"\u003ca href=\"https://www.npr.org/2022/05/09/1096005629/ada-limon-hurting-kind-review-poetry\" target=\"_blank\" rel=\"noopener noreferrer\">The Hurting Kind\u003c/a>.\" She's also the winner of the National Book Critics Circle Award for poetry and many other accolades.\u003c/p>\n\u003cp>Limón was born in Sonoma County, and now lives among the hills and horses of Kentucky. \u003ca href=\"https://www.kqed.org/forum/2010101890341/u-s-poet-laureate-ada-limon-on-elevating-and-promoting-poetry-when-america-needs-healing\" target=\"_blank\" rel=\"noopener noreferrer\">KQED Forum host Alexis Madrigal spoke with Limón\u003c/a> about her new post as poet laureate and how to read a poem.\u003c/p>\n\u003cp>\u003cem>The following excerpts have been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>ALEXIS MADRIGAL: In a 2008 essay, you were living in New York and pondering regional poetry and asking if you were, in fact, a poet of Sonoma. And then you said, \"I think I would claim myself a California poet. This definition is too tight, and it smells like old wine.\" Do you see yourself now as a Sonoma poet? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>ADA LIMÓN:\u003c/strong> To be honest, I think that the place I feel the most at home is in Sonoma. It does feel like a place where I deeply belong. But I also feel like there is a part of me that now that I've lived so many different places ... I do feel like there's this sort of sense that I belong to America. I think the landscape of the United States is something that I really feel connected to. And now that I've lived so many places in it, I feel like I can speak to that. But, Sonoma definitely still feels like home.\u003c/p>\n\u003cp>\u003cstrong>Do you feel coming from these different places, living in these different places, that contrasts stick out more?\u003c/strong>\u003c/p>\n\u003cp>I think that one of the things that I really love about being in different places, even just traveling, is that idea of getting to know the natural elements in each place. When I first arrived in Kentucky, I was really hoping to move back to California permanently, and then I fell madly in love and married my husband and I live in Kentucky and have learned to just love it.\u003c/p>\n\u003cp>But I think the way that I know to love something, or how I can figure that out, is to explore the natural landscape around me. A lot of the poems in the book are about me really figuring out the landscape around me and looking at the old barns and the incredible horse pastures everywhere. That was important to me to figure out — how to love a place, to name the plants and animals, that I'm surrounded by.\u003c/p>\n\u003cp>\u003cstrong>Let's have you read \"\u003ca href=\"https://www.oprahdaily.com/entertainment/books/a39654803/ada-limon-hurting-kind-poem-video/\" target=\"_blank\" rel=\"noopener noreferrer\">A Good Story\u003c/a>.\" This is from your most recent collection.\u003c/strong>\u003c/p>\n\u003cp>It's a poem that began for me at a place where I feel like there were so many poems that were dealing with trauma. And I think it's incredibly important that we write and read poems that are hard and that deal with the hard things. But I also really wanted to write about tenderness and be grateful for those moments that tenderness was offered to me. This is where that poem came from.\u003c/p>\n\u003cp>\u003cstrong>It made me think of a time my sister's ex-husband silently made me a bowl of macaroni and cheese, while I cried on my sister's lap. What is the literary infrastructure that makes that pack such a punch?\u003c/strong>\u003c/p>\n\u003cp>Thank you for that. The poem is in couplets and there are actually long lines in the poem that sort of allow for it to move a little faster.\u003c/p>\n\u003cp>The line length of a poem really determines the rhythm and speed of how the poem is read. A shorter line is going to be much slower if you think sort of Emily Dickinson, that's going to read much slower because it's got the breath in it.\u003c/p>\n\u003cp>That slight pause after the line break is going to make you read it slower and then a longer line is going to read a little faster.\u003c/p>\n\u003cp>You can think of Whitman and then sort of the mid-length line is more for conversation. You can think of Shakespeare. It's meant to be read a little fast, but then at the same time it's in couplets. So you're going to break after each of those couplets, which gives you that little moment of pause.\u003c/p>\n\u003cp>It has that sort of rhythm that goes back and forth.\u003c/p>\n\u003cp>The last line is then on its own, which kind of allows for it to stand out a little bit.\u003c/p>\n\u003cp>The other part of this poem is that it's dealing with time.\u003c/p>\n\u003cp>I had a student ask me, \"How is it that you can go from the present moment into the past or into the future so easily in your poems?\" And I said, well, this is going to sound weird, but I think time doesn't exist. I say my stepfather told me a story. And then he does this thing. But at the same time, it does feel like it's happening in the present moment because it begins with a hard day. And what does the hard day require? The hard day requires a good story and sometimes that good story isn't something that's happening now. But maybe it's a memory like you were talking about. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>We praise people so much for courage and bravery and strength and sometimes not for tenderness. In \"The Hurting Kind,\" how do you think about celebrating the ability to hold grief or the ability to hurt? How does one actually do that?\u003c/strong>\u003c/p>\n\u003cp>I've been thinking about this a lot, and I feel like oftentimes when we come to a poem, it's not even so much that we have to feel a certain thing, right? You don't have to feel exactly what I want you to feel after a poem I've read or a poem I've given you by somebody else.\u003c/p>\n\u003cp>Maybe the important thing is just that you feel period.\u003c/p>\n\u003cp>And maybe that is something that we need to tap into, because I know for me, this is true. We've just become so numb to so much because there's just so much chaos and crisis in the world that it feels like every one of us is being shoved from one emergency to the next.\u003c/p>\n\u003cp>We have to compartmentalize, and of course, we have to go numb a little bit. But I think that there is a real danger in that. There's a real danger in living without feeling and swallowing everything to become sort of courageous and resilient. And listen, I love the word \"resilience\" and I want to be resilient. But sometimes I think we also need to be a mess.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>We need to feel and maybe have someone give us macaroni and cheese while we cry. I think those are really important moments. It's what makes us human. It also is what makes us able to find strength.\u003c/p>\n\u003cp>There is power in that moment when you break down, that moment when you feel all the feelings and it feels like too much. That's important because that's where we get the courage to go on, and maybe pursue the action that we need to see in the world. But I do think we need to make space for breathing, for falling apart, for crying. And for grieving those that we lost, because we just, we move on so quickly.\u003c/p>\n\u003cp>We're asked to move on so quickly. And I think sometimes we aren't supposed to.\u003c/p>\n\u003cp>\u003cstrong>It feels like the river you grew up by, the creek you grew up by in Sonoma, it raised you in some way, thinking about the poem you wrote about the raccoon decomposing in the water with its little hand eventually turning to bone.\u003c/strong>\u003c/p>\n\u003cp>That's the Calabazas Creek. That creek is really important to me. Someone asked me one time where my poems come from and that creek was my first thought: \"It's the Calabazas Creek.\" There's something about that area.\u003c/p>\n\u003cp>Sometimes with poetry, we're looking for the voice under the voice. It's not just the voice, but the thing underneath it. And that creek was underneath our life. The cars were going from the job and school and all of that. You could feel the rush. But there it was quiet. It was small. There were the little crawdads and little minnows. And there was all of this life happening. But it was like a secret life. And I think oftentimes my poems begin there.\u003c/p>\n\u003cp>\u003cstrong>In this new role as poet laureate, do you feel like you have to perform yourself and perform yourself in certain ways? How do you feel about being the first Latina poet laureate?\u003c/strong>\u003c/p>\n\u003cp>That's a great question. It's easy to feel that way, and I think that people will ask that of me. But I really hope I stay true to me and who I am as an authentic human being, full of complex emotions and identities and desires and needs and poems. If I want to perform anything, it's a poem and it's not an identity.\u003c/p>\n\u003cp>\u003cstrong>Through your life you've had a few different physical conditions that have conditioned you to think about pain in certain ways. How has that infused into your identity, to have been dealing with that since you were a child?\u003c/strong>\u003c/p>\n\u003cp>I have pretty intense scoliosis. And so, in fact, I just had an adjustment yesterday and I deal with it all the time. It is something that causes me quite a bit of pain. And I think a lot about mobility issues.\u003c/p>\n\u003cp>I'm trying to avoid some of the phrasing that makes me really uncomfortable. People will say, \"Oh, you were in chronic pain.\" And I'm like, the only problem with the word \"chronic pain\" is that I would like to leave space for it not to be chronic. I'd also like to leave space for maybe someday it will all magically disappear. I think a lot about language, and the language of the body, but also that sometimes when you practice meditation, which I do, a lot of the wonderful teachers and guides will say, \"Now return to the body.\" And I often think — what if the body is really not a happy place right now?\u003c/p>\u003c/div>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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